hè bó tè · qiáo zhì · wēi 'ěr sī lù xù fā biǎo liǎo《 mò luò bó shì dǎo》（ TheIslandofDr.Moreau）、《 yǐn shēn rén》（ TheInvisibleMan）、《 shì jiè dà zhàn》（ TheWaroftheWorlds）、《 shén de shí wù》 děng kē huàn xiǎo shuō， hái xiě liǎo dà liàng de lùn wén hé cháng piān xiǎo shuō。
The War of the Worlds is split into two parts, Book one: The Coming of the Martians, and Book two: The Earth under the Martians. The novel is narrated by a writer of philosophical articles who throughout the narrative struggles to reunite with his wife, while witnessing the Martians rampaging through the southern English counties. Part one also features the tale of his brother, who accompanies two women to the coast in the hope of escaping England as it is invaded.
The plot has been related to invasion literature of the time. The novel has been variously interpreted as a commentary on evolutionary theory, British imperialism, and generally Victorian fears and prejudices. At the time of publication it was classed as a scientific romance, like his earlier novel The Time Machine. Since then, it has influenced much literature and other media, spawning several films, radio dramas, comic book adaptations, a television series, and sequels or parallel stories by other authors. It also influenced the real-life work of scientists, notably the rocket scientist Robert H. Goddard who developed practical techniques for interplanetary travel.
The War of the Worlds is split into two parts, Book one: The Coming of the Martians, and Book two: The Earth under the Martians. The novel is narrated by a writer of philosophical articles who throughout the narrative struggles to reunite with his wife, while witnessing the Martians rampaging through the southern English counties. Part one also features the tale of his brother, who accompanies two women to the coast in the hope of escaping England as it is invaded.
The plot has been related to invasion literature of the time. The novel has been variously interpreted as a commentary on evolutionary theory, British imperialism, and generally Victorian fears and prejudices. At the time of publication it was classed as a scientific romance, like his earlier novel The Time Machine. Since then, it has influenced much literature and other media, spawning several films, radio dramas, comic book adaptations, a television series, and sequels or parallel stories by other authors. It also influenced the real-life work of scientists, notably the rocket scientist Robert H. Goddard who developed practical techniques for interplanetary travel.
《 shí jiān jī qì》 shì yīng guó zuò jiā hēi . gé . wēi 'ěr shì zuì zhù míng de liǎng piān zhù zuò zhī yī（ lìng yī piān shì dà jiādōu zài shú xī bù guò de《 shì jiè dà zhàn》）， zhè liǎng piān zuò pǐn zài dāng shí céng lìng wǒ chén nì liǎo hǎo jiǔ。 ér qí zhōng zuì shǐ wǒ gǎn xīng qù de shì shí jiān lǚ xíng de qí miào zhī chù： zhè zài dāng shí hái yǐn fā liǎo yīcháng guān yú shí jiān lǚ xíng de shè huì wèn tí jí lún lǐ de dà zhēng lùn。 gù shì qíng jié tóng yàng de yǐn rén rù shèng， chōng mǎn liǎo jīng xiǎn cì jī hé xuán yí。
《 shí jiān jī qì》 yùn yòng liǎo mǒu zhǒng jìn hū kǒng bù de shǒu fǎ hé cuò zōng fù zá de qíng jié， zhǎn shì liǎo yī gè zhèn hàn rén xīn de gǎn rén gù shì。 shí jiān lǚ xíng jiā shì duì kē xué yòu suǒ miǎo shì de wéi 'ěr sī shì de yīng xióng（ fán 'ěr nà shì de yīng xióng bǐ jiào tuī chóng kē xué jì shù）， jù yòu jí qiáng de néng lì， què wú fǎ gǎi biàn xiàn shí。 zhěng gè zuò pǐn gěi rén yǐ mǒu zhǒng huāng liáng de gǎn jué。
shù shí nián lái， shí jiān lǚ xíng yī zhí chǔyú zhù liú kē xué de biān yuán。 rán 'ér , jìn jǐ nián nèi , gāi huà tí zài yī xiē lǐ lùn wù lǐ xué jiā zhōng jiān yǐ chéng liǎo gè rén de yán jiū 'àihào。 zhè yī biàn huà bù fēn shì chū yú yú lè xiāo qiǎn héng héng xiǎng xiàng shí jiān lǚ xíng kě shì jiàn qù shì。 dàn cǐ xiàng yán jiū yě yòu qí yán sù de yī miàn。 lǐ jiě yīn guǒ guān xì shì cháng shì jiàn lì yī gè tǒng yī de wù lǐ xué lǐ lùn de guān jiàn bù fēn。 rú guǒ wú xiàn zhì de shí jiān lǚ xíng shì kě néng de， nà me zài yuán zé shàng， zhè yàng yī gè tǒng yī lǐ lùn de xìng zhì kě néng huì shòu dào jí wéi yán zhòng de yǐng xiǎng。
wǒ men duì shí jiān zuì wán shàn de lǐ jiě lái zì Einstein de xiāng duì lùn。 zài zhè xiē lǐ lùn dàn shēng zhī qián， shí jiān bèi guǎng fàn dì rèn wéi shì jué duì de hé pǔ biàn de， bù guǎn rén men de wù lǐ zhuàng tài rú hé， shí jiān duì yú měi gè réndōu yī yàng。 zài Einstein xiá yì xiāng duì lùn zhōng， tā tí chū cèliáng liǎng gè shì jiàn de shí jiān jiàngé qǔ jué yú guān chá zhě rú hé yùn dòng。 zhì guān zhòng yào de shì， yùn dòng zhuàng tài bù tóng de liǎng míng guān chá zhě duì yú tóng yàng de liǎng gè shì jiàn jiāng huì tǐ yàn dào bù tóng de chí xù shí jiān。
jīng cháng yòng “ shuāng shēng zǐ yáng miù ” miáo shù de nà gè xiào yìng： jiǎ dìng Sally hé Sam shì shuāng bāo tāi， Sally dā chéng yī sōu fēi chuán yǐ gāo sù shǐ xiàng fù jìn de yī kē héng xīng qù lǚ xíng， rán hòu zhé fǎn fēi huí dì qiú， ér Sam zhǐ dāi zài jiā lǐ。 duì yú Sally 'ér yán， lǚ xíng dà yuē chí xù liǎo yī nián， dàn dāng tā fǎn huí dào dì qiú bìng kuà chū yǔ zhòu fēi chuán shí， tā fā xiàn dì qiú shàng yǐ jīng guò qù liǎo 10 nián， xiàn zài tā de xiōng dì bǐ tā dà jiǔ suì。 jìn guǎn tā men zài tóng yī tiān chū shēng， kě shì Sally hé Sam shì bù zài jù yòu xiāng tóng de nián líng。 zhè gè lì zǐ shuō míng liǎo yī lèi yòu xiàn de shí jiān lǚ xíng。 shí jì shàng， Sally yǐ jīng tiào yuè dào liǎo jiǔ nián hòu de dì qiú de wèi lái。
History
Wells had considered the notion of time travel before, in an earlier (but less well-known) work titled The Chronic Argonauts. He had thought of using some of this material in a series of articles in the Pall Mall Gazette, until the publisher asked him if he could instead write a serial novel on the same theme; Wells readily agreed, and was paid £100 on its publication by Heinemann in 1895. The story was first published in serial form in the New Review through 1894 and 1895. The book is based on the Block Theory of the Universe, which is a notion that time is a fourth space dimension.
The story reflects Wells's own socialist political views and the contemporary angst about industrial relations. It is also influenced by Ray Lankester's theories about social degeneration. Other science fiction works of the period, including Edward Bellamy's Looking Backward, and the later Metropolis, dealt with similar themes.
Plot summary
The book's protagonist is an English scientist and gentleman inventor living in Richmond, Surrey, identified by a narrator simply as the Time Traveller. The narrator recounts the Traveller's lecture to his weekly dinner guests that time is simply a fourth dimension, and his demonstration of a tabletop model machine for travelling through it. He reveals that he has built a machine capable of carrying a person, and returns at dinner the following week to recount a remarkable tale, becoming the new narrator:
The Time Traveller tests his device with a journey that takes him to the year A.D. 802,701, where he meets the Eloi, a society of small, elegant, androgynous, and childlike people. They live in small communities within large and futuristic yet slowly deteriorating buildings, doing no work and having a frugivorous diet. His efforts to communicate with them are hampered by their lack of curiosity or discipline, and he concludes that they are a peaceful communist society, the result of humanity conquering nature with technology, and subsequently evolving to adapt to an environment in which strength and intellect are no longer advantageous to survival.
Returning to the site where he arrived, the Time Traveller finds his time machine missing, and eventually works out that it has been dragged by some unknown party into a nearby structure with heavy doors, locked from the inside. Later in the dark, he is approached menacingly by the Morlocks, pale, apelike people who live in darkness underground, where he discovers the machinery and industry that makes the above-ground paradise possible. He alters his theory, speculating that the human race has evolved into two species: the leisured classes have become the ineffectual Eloi, and the downtrodden working classes have become the brutish light-fearing Morlocks. Deducing that the Morlocks have taken his time machine, he explores the Morlock tunnels, learning that they feed on the Eloi. His revised analysis is that their relationship is not one of lords and servants but of livestock and ranchers, and with no real challenges facing either species. They have both lost the intelligence and character of Man at its peak.
Meanwhile, he saves an Eloi named Weena from drowning, and they develop an innocently affectionate relationship over the course of several days. He takes Weena with him on an expedition to a distant structure that turns out to be the remains of a museum, where he finds a fresh supply of matches and fashions a crude weapon against Morlocks, whom he fears he must fight to get back his machine. But the long and tiring journey back to Weena's home is too much for them, they are overcome by Morlocks in the night, and Weena is injured. The Traveller escapes only when a small fire he had left behind them to distract the Morlocks catches up to them as a forest fire; Weena is lost to the fire.
The Morlocks use the time machine as bait to ensnare the Traveller, not understanding that he will use it to escape. He travels further ahead to roughly 30 million years from his own time. There he sees some of the last living things on a dying Earth, menacing reddish crab-like creatures slowly wandering the blood-red beaches of a world covered in simple vegetation. He continues to make short jumps through time, seeing Earth's rotation gradually cease and the sun grow dimmer, and the world falling silent and freezing as the last degenerate living things die out.
Overwhelmed, he returns to his laboratory, at just three hours after he originally left. Interrupting dinner, he relates his adventures to his disbelieving visitors, producing as evidence two strange flowers Weena had put in his pocket. The original narrator takes over and relates that he returned to the Time Traveller's house the next day, finding him in final preparations for another journey. The Traveller promises to return in half an hour, but three years later, the narrator despairs of ever learning what became of him.
Deleted text
A section from the 11th chapter of the serial published in New Review (May, 1895) was deleted from the book. It was drafted at the suggestion of Wells's editor, William Ernest Henley, who wanted Wells to "oblige your editor" by lengthening out the text with, among other things, an illustration of "the ultimate degeneracy" of man. "There was a slight struggle," Wells later recalled, "between the writer and W. E. Henley who wanted, he said, to put a little 'writing' into the tale. But the writer was in reaction from that sort of thing, the Henley interpolations were cut out again, and he had his own way with his text." This portion of the story was published elsewhere as The Grey Man. This deleted text was also published by Forrest J. Ackerman in an issue of the American edition of Perry Rhodan.
The deleted text recounts an incident immediately after the Traveller's escape from the Morlocks. He finds himself in the distant future of an unrecognisable Earth, populated with furry, hopping herbivores. He stuns or kills one with a rock, and upon closer examination realizes they are probably the descendants of humans/Eloi/Morlocks. A gigantic, centipede-like arthropod approaches and the Traveller flees into the next day, finding that the creature has apparently eaten the tiny humanoid.
Film, TV, or theatrical adaptations
First adaptation
The first visual adaptation of the book was a live teleplay broadcast from Alexandra Palace on 25 January 1949 by the BBC, which starred Russell Napier as the Time Traveller and Mary Donn as Weena. No recording of this live broadcast was made; the only record of the production is the script and a few black and white still photographs. A reading of the script, however, suggests that this teleplay remained fairly faithful to the book.
Escape Radio broadcasts
The CBS radio anthology Escape adapted The Time Machine twice, in 1948 starring Jeff Corey, and again in 1950 starring John Dehner. In both episodes a script adapted by Irving Ravetch was used. The Time Traveller was named Dudley and was accompanied by his skeptical friend Fowler as they travelled to the year 100,080.
1960 film
George Pál (who also made a famous 1953 "modernised" version of Wells's The War of the Worlds) filmed The Time Machine in 1960. Rod Taylor (The Birds) starred, along with Yvette Mimieux as the young Eloi, Weena, Alan Young as his closest friend David Filby (and, in 1917 and 1966, his son James Filby), Sebastian Cabot as Dr Hillyer, Whit Bissell as Walter Kemp and Doris Lloyd as his housekeeper Mrs Watchett. The Time Traveller is addressed as George. The plate on the Time Machine which he builds, is inscribed 'Manufactured by H. George Wells'. This is clearly visible and easily read whenever the date indicator panel is shown in the film. The location is not stated anymore precisely than in the south of England, but is near a sharp bend of the river Thames, so is presumably still Richmond, Surrey.
This is more of an adventure tale than the book was; The story begins with the Time Traveller returning from his trip, unkempt and in disarray. He relates to his friends of what he has witnessed: wars' horrors first-hand in June, 1940 over London and a nuclear bomb in August, 1966. Travelling to 802,701 A.D., he finds world has settled into a vast garden. He meets the pacifist, illiterate and servile Eloi, who speak broken English, and have little interest in technology or the past. Their brethren from long ago, the Morlocks, however, although technologically competent, have devolved into cannibalistic underground workers. He deduces the division of mankind resulted from mutations induced by nuclear war - periodic air-raid sirens cause Weena and many Eloi to instinctively report to underground shelters run by the Morlocks. The Time Traveller goes down to rescue them, and encourages a leader among them to help them escape. Having escaped, and after throwing dead wood into the holes on the surface to feed a growing underground fire, they retreat to the river as underground explosions cause a cave-in. After getting to his machine, he is trapped behind a closed door with several Morlocks, whom he has to fight in order to escape. Battered, he makes it back to his scheduled dinner the next Friday January 5, 1900.
After relating his story, the Time Traveller leaves for a second journey, but Filby and Mrs Watchett note that he had taken three books from the shelves in his drawing room. Filby comments that George must've had a plan for a new Eloi civilisation. "Which three books would you have taken?" Filby inquires to Mrs. Watchett, adding " ... he has all the time in the world."
The film is noted for its then-novel use of time lapse photographic effects to show the world around the Time Traveller changing at breakneck speed as he travels through time. (Pal's earliest films had been works of stop-motion animation.)
Thirty-three years later, a combination sequel/documentary Time Machine: The Journey Back (1993 film), directed by Clyde Lucas, was produced. Rod Taylor hosted, with Bob Burns (also Ex Producer), Gene Warren Sr. and Wah Chang as guests. Michael J. Fox (who had himself portrayed a time traveller in the Back to the Future trilogy) spoke about time travelling in general. In the second half, written by original screenwriter David Duncan, the movie's original actors Rod Taylor, Alan Young and Whit Bissell reprise their roles. The Time Traveller returns to his laboratory in 1916, finding Filby there, and encourages his friend to join him in the far future — but Filby has doubts. (Time Machine: The Journey Back is featured as an extra on the DVD release of the 1960 film).
The Fantasy Film Worlds of George Pal
Main article: The Fantasy Film Worlds of George Pal
This film, produced and directed by Arnold Leibovit, is a biopic of George Pal. It contains a number of filmed elements from Pal's 1960 film version of The Time Machine.
1978 TV movie
A TV version was made in 1978, with time-lapse images of building walls being de-constructed, and geographic shifting from Los Angeles to Plymouth, Mass., and inland California. John Beck starred as Neil Perry, with Whit Bissell (from the original 1960 movie and also one of the stars of the 1966 television series The Time Tunnel) appearing as one of Perry's superiors. Though only going a few thousand years into the future, Perry finds the world of the Eloi and Morlocks, and learns the world he left will be destroyed by another of his own inventions. The character Weena was played by Priscilla Barnes of Three's Company fame.
1994 audio drama
In 1994 an audio drama was published on CD by Alien Voices, starring Leonard Nimoy as the Time Traveller (named John) and John de Lancie as David Filby. John de Lancie's children, Owen de Lancie and Keegan de Lancie, played the parts of the Eloi. The drama is approximately two hours long. Interestingly, this version of the story is more faithful to Wells's novella than either the 1960 movie or the 2002 movie.
2002 film
The 1960 film was remade in 2002, starring Guy Pearce as the Time Traveller, a mechanical engineering professor named Alexander Hartdegen, Mark Addy as his colleague David Filby, Sienna Guillory as Alex's ill-fated fiancée Emma, Phyllida Law as Mrs. Watchit, and Jeremy Irons as the uber-Morlock. Playing a quick cameo as a shopkeeper was Alan Young, who featured in the 1960 film. (H.G. Wells himself can also be said to have a "cameo" appearance, in the form of a photograph on the wall of Alex's home, near the front door.)
The film was directed by Wells's great-grandson Simon Wells, with an even more revised plot that incorporated the ideas of paradoxes and changing the past. The place is changed from Richmond, Surrey, to downtown New York City, where the Time Traveller moves forward in time to find answers to his questions on 'Practical Application of Time Travel;' first in 2030 New York, to witness an orbital lunar catastrophe in 2037, before moving on to 802,701 for the main plot. He later briefly finds himself in 635,427,810 with toxic clouds and a world laid waste (presumably by the Morlocks) with devastation and Morlock artefacts stretching out to the horizon.
It was met with generally mixed reviews and earned $56 million before VHS/DVD sales. The Time Machine used a design that was very reminiscent of the one in the Pal film, but was much larger and employed polished turned brass construction, along with rotating quartz/glasses reminiscent of the light gathering prismatic lenses common to lighthouses (In Wells's original book, the Time Traveller mentioned his 'scientific papers on optics'). Weena makes no appearance; Hartdegen instead becomes involved with a female Eloi named Mara, played by Samantha Mumba. In this film, the Eloi have, as a tradition, preserved a "stone language" that is identical to English. The Morlocks are much more barbaric and agile, and the Time Traveller has a direct impact on the plot.
2009 BBC Radio 3 broadcast
Robert Glenister stars as the Time Traveller, with William Gaunt as H. G. Wells in a new 100-minute radio dramatisation by Philip Osment, directed by Jeremy Mortimer as part of a BBC Radio Science Fiction season. This was the first adaptation of the novel for British radio. It was first broadcast on 22 February 2009 on BBC Radio 3. The other cast was:
* Time traveller - Robert Glenister
* Martha - Donnla Hughes
* Young HG Wells - Gunnar Cauthery
* Filby, friend of the young Wells - Stephen Critchlow
* Bennett, friend of the young Wells - Chris Pavlo
* Mrs Watchett, the traveller's housemaid - Manjeet Mann
* Weena, one of the Eloi and the traveller's partner - Jill Cardo
* Other parts - Robert Lonsdale, Inam Mirza and Dan Starkey
The adaptation retained the nameless status of the time traveller and set it as a true story told to the young Wells by the time traveller, which Wells then re-tells as an older man to the American journalist Martha whilst firewatching on the roof of Broadcasting House during the Blitz. It also retained the deleted ending from the novel as a recorded message sent back to Wells from the future by the traveller using a prototype of his machine, with the traveller escaping the anthropoid creatures to 30 million AD at the end of the universe before disappearing or dying there.
Wishbone episode
The Time Machine was featured in an episode of the PBS children's show Wishbone, entitled "Bark to the Future". Wishbone plays the role of the Time Traveller, where he meets Weena, takes her to an ancient library, and confronts the Morlocks. The parallel story has Wishbone's owner, Joe, relying on a calculator to solve percentage problems rather than his own intellect, recalling the mindset that created the lazy Eloi.
Sequels by other authors
Wells's novella has become one of the cornerstones of science-fiction literature. As a result, it has spawned many offspring. Works expanding on Wells's story include:
* The Return of the Time Machine by Egon Friedell, printed in 1972, from the 1946 German version. The author portrays himself as a character searching for the Time Traveller in different eras.
* The Hertford Manuscript by Richard Cowper, first published in 1976. It features a "manuscript" which reports the Time Traveller's activities after the end of the original story. According to this manuscript, the Time Traveller disappeared because his Time Machine had been damaged by the Morlocks without him knowing it. He only found out when it stopped operating during his next attempted time travel. He found himself on August 27, 1665, in London during the outbreak of the Great Plague of London. The rest of the novel is devoted to his efforts to repair the Time Machine and leave this time period before getting infected with the disease. He also has an encounter with Robert Hooke. He eventually dies of the disease on September 20, 1665. The story gives a list of subsequent owners of the manuscript until 1976. It also gives the name of the Time Traveller as Robert James Pensley, born to James and Martha Pensley in 1850 and disappearing without trace on June 18, 1894.
* Morlock Night by K.W. Jeter, first published in 1979. A steampunk novel in which the Morlocks, having studied the Traveller's machine, duplicate it and invade Victorian London.
* The Space Machine by Christopher Priest, first published in 1976. Because of the movement of planets, stars and galaxies, for a time machine to stay in one spot on Earth as it travels through time, it must also follow the Earth's trajectory through space. In Priest's book, the hero damages the Time Machine, and arrives on Mars, just before the start of the invasion described in The War of the Worlds. H.G. Wells himself appears as a minor character.
* Time Machine II by George Pal and Joe Morhaim, published in 1981. The Time Traveller, named George, and the pregnant Weena try to return to his time, but instead land in the London Blitz, dying during a bombing raid. Their newborn son is rescued by an American ambulance driver, and grows up in the United States under the name Christopher Jones. Sought out by the lookalike son of James Filby, Jones goes to England to collect his inheritance, leading ultimately to George's journals, and the Time Machine's original plans. He builds his own machine with 1970s upgrades, and seeks his parents in the future.
* The Time Ships, by Stephen Baxter, first published in 1995. This sequel was officially authorized by the Wells estate to mark the centenary of the original's publication. In its wide-ranging narrative, the Traveller's desire to return and rescue Weena is thwarted by the fact that he has changed history (by telling his tale to his friends, one of whom published the account). With a Morlock (in the new history, the Morlocks are intelligent and cultured), he travels through the multiverse as increasingly complicated timelines unravel around him, eventually meeting mankind's far future descendants, whose ambition is to travel into the multiverse of multiverses.[clarification needed] This sequel includes many nods to the prehistory of Wells's story in the names of characters and chapters.
* The 2003 short story "On the Surface" by Robert J. Sawyer begins with this quote from the Wells original: "I have suspected since that the Morlocks had even partially taken it [the time machine] to pieces while trying in their dim way to grasp its purpose." In the Sawyer story, the Morlocks develop a fleet of time machines and use them to conquer the same far future Wells depicted at the end of the original, by which time, because the sun has grown red and dim and thus no longer blinds them, they can reclaim the surface of the world.
* The Man Who Loved Morlocks and The Trouble With Weena (The Truth about Weena) are two different sequels, the former a novel and the latter a short story, by David J. Lake. Each of them concerns the Time Traveller's return to the future. In the former, he discovers that he cannot enter any period in time he has already visited, forcing him to travel in to the further future, where he finds love with a woman whose race evolved from Morlock stock. In the latter, he is accompanied by Wells, and succeeds in rescuing Weena and bringing her back to the 1890s, where her political ideas cause a peaceful revolution.
* In Michael Moorcock's Dancers at the End of Time series, the Time Traveller is a very minor character, his role consists of being shocked by the decadence of the inhabitants of the End of Time. H.G. Wells also appears briefly in this series when the characters visit Bromley in 1896.
* The Time Traveller makes a brief appearance in Allan and the Sundered Veil, a back-up story appearing in the first volume of Alan Moore and Kevin O'Neill's The League of Extraordinary Gentlemen, Volume I, where he saves Allan Quatermain, John Carter and Randolph Carter from a horde of Morlocks.
* The time-travelling hero known as "The Rook" (who appeared in various comics from Warren Publishing) is the grandson of the original Time Traveller. In one story, he met the Time Traveller, and helps him stop the Morlocks from wiping out the Eloi.
* Philip José Farmer speculated that the Time Traveller was a member of the Wold Newton family. He is said to have been the great-uncle of Doc Savage.
* Burt Libe wrote two sequels: Beyond the Time Machine and Tangles in Time, telling of the Time Traveller finally settling down with Weena in the 33rd century. They have a few children, the youngest of whom is the main character in the second book.
* In 2006, Monsterwax Trading Cards combined The Time Machine with two of Wells's other stories, The Island of Dr. Moreau and The War of the Worlds. The resulting 102 card trilogy, by Ricardo Garijo, was entitled The Art of H. G. Wells. The continuing narrative links all three stories by way of an unnamed writer mentioned in Wells's first story, to the nephew of Ed Prendick (the narrator of Dr. Moreau), and another unnamed writer (narrator) in The War of the Worlds.
* In Ronald Wright's novel A Scientific Romance, a lonely museum curator on the eve of the millennium discovers a letter written by Wells shortly before his death, foretelling the imminent return of the Time Machine. The curator finds the machine, then uses it to travel into a post-apocalyptic future.
The Time Traveller
Although the Time Traveller's real name is never given in the original novel, other sources have named him.
One popular theory, encouraged by movies like Time After Time and certain episodes of the hit show Lois and Clark: The New Adventures of Superman, is that the Time Traveller is meant to be none other than H. G. Wells himself. Indeed, in the George Pál movie adaptation of The Time Machine, his name is given as George (also H. G. Wells's middle name). Due to the clarity of the DVD image, 'H.G. Wells' can be seen on the control panel of the device, making it obvious that the film's Time Traveller is H.G. Wells.
In Simon Wells' 2002 remake, the Time Traveller is named Alexander Hartdegen.
In The Time Ships, Stephen Baxter's sequels to The Time Machine, the Time Traveller encounters his younger self via time travel, who he nicknames 'Moses'. His younger self reacts with embarrassment to this, which implies that it may be a first name that he changed. This is a reference to H.G. Wells's story "The Chronic Argonauts", the story which grew into The Time Machine, in which the inventor of the Time Machine is named Dr. Moses Nebogipfel. (The surname of Wells's first inventor graces another character in Baxter's book, as explained above.)
The Hartford Manuscript, another sequel to The Time Machine, gives the Time Traveller's name as Robert James Pensley.
Doc Savage: His Apocalyptic Life by Philip José Farmer gives the Time Traveller's name as Bruce Clarke Wildman.
The Rook comic book series gives the Time Traveller's name as Adam Dane.
In the Doctor Who comic strip story "The Eternal Present", the character of Theophilus Tolliver is implied to be the Time Traveller of Wells's novel.
Also featured in Doctor Who is Wells, himself, appearing in the television serial Timelash. The events of this story are portrayed has having inspired Wells to write The Time Machine.
《 shí jiān jī qì》 yùn yòng liǎo mǒu zhǒng jìn hū kǒng bù de shǒu fǎ hé cuò zōng fù zá de qíng jié， zhǎn shì liǎo yī gè zhèn hàn rén xīn de gǎn rén gù shì。 shí jiān lǚ xíng jiā shì duì kē xué yòu suǒ miǎo shì de wéi 'ěr sī shì de yīng xióng（ fán 'ěr nà shì de yīng xióng bǐ jiào tuī chóng kē xué jì shù）， jù yòu jí qiáng de néng lì， què wú fǎ gǎi biàn xiàn shí。 zhěng gè zuò pǐn gěi rén yǐ mǒu zhǒng huāng liáng de gǎn jué。
shù shí nián lái， shí jiān lǚ xíng yī zhí chǔyú zhù liú kē xué de biān yuán。 rán 'ér , jìn jǐ nián nèi , gāi huà tí zài yī xiē lǐ lùn wù lǐ xué jiā zhōng jiān yǐ chéng liǎo gè rén de yán jiū 'àihào。 zhè yī biàn huà bù fēn shì chū yú yú lè xiāo qiǎn héng héng xiǎng xiàng shí jiān lǚ xíng kě shì jiàn qù shì。 dàn cǐ xiàng yán jiū yě yòu qí yán sù de yī miàn。 lǐ jiě yīn guǒ guān xì shì cháng shì jiàn lì yī gè tǒng yī de wù lǐ xué lǐ lùn de guān jiàn bù fēn。 rú guǒ wú xiàn zhì de shí jiān lǚ xíng shì kě néng de， nà me zài yuán zé shàng， zhè yàng yī gè tǒng yī lǐ lùn de xìng zhì kě néng huì shòu dào jí wéi yán zhòng de yǐng xiǎng。
wǒ men duì shí jiān zuì wán shàn de lǐ jiě lái zì Einstein de xiāng duì lùn。 zài zhè xiē lǐ lùn dàn shēng zhī qián， shí jiān bèi guǎng fàn dì rèn wéi shì jué duì de hé pǔ biàn de， bù guǎn rén men de wù lǐ zhuàng tài rú hé， shí jiān duì yú měi gè réndōu yī yàng。 zài Einstein xiá yì xiāng duì lùn zhōng， tā tí chū cèliáng liǎng gè shì jiàn de shí jiān jiàngé qǔ jué yú guān chá zhě rú hé yùn dòng。 zhì guān zhòng yào de shì， yùn dòng zhuàng tài bù tóng de liǎng míng guān chá zhě duì yú tóng yàng de liǎng gè shì jiàn jiāng huì tǐ yàn dào bù tóng de chí xù shí jiān。
jīng cháng yòng “ shuāng shēng zǐ yáng miù ” miáo shù de nà gè xiào yìng： jiǎ dìng Sally hé Sam shì shuāng bāo tāi， Sally dā chéng yī sōu fēi chuán yǐ gāo sù shǐ xiàng fù jìn de yī kē héng xīng qù lǚ xíng， rán hòu zhé fǎn fēi huí dì qiú， ér Sam zhǐ dāi zài jiā lǐ。 duì yú Sally 'ér yán， lǚ xíng dà yuē chí xù liǎo yī nián， dàn dāng tā fǎn huí dào dì qiú bìng kuà chū yǔ zhòu fēi chuán shí， tā fā xiàn dì qiú shàng yǐ jīng guò qù liǎo 10 nián， xiàn zài tā de xiōng dì bǐ tā dà jiǔ suì。 jìn guǎn tā men zài tóng yī tiān chū shēng， kě shì Sally hé Sam shì bù zài jù yòu xiāng tóng de nián líng。 zhè gè lì zǐ shuō míng liǎo yī lèi yòu xiàn de shí jiān lǚ xíng。 shí jì shàng， Sally yǐ jīng tiào yuè dào liǎo jiǔ nián hòu de dì qiú de wèi lái。
History
Wells had considered the notion of time travel before, in an earlier (but less well-known) work titled The Chronic Argonauts. He had thought of using some of this material in a series of articles in the Pall Mall Gazette, until the publisher asked him if he could instead write a serial novel on the same theme; Wells readily agreed, and was paid £100 on its publication by Heinemann in 1895. The story was first published in serial form in the New Review through 1894 and 1895. The book is based on the Block Theory of the Universe, which is a notion that time is a fourth space dimension.
The story reflects Wells's own socialist political views and the contemporary angst about industrial relations. It is also influenced by Ray Lankester's theories about social degeneration. Other science fiction works of the period, including Edward Bellamy's Looking Backward, and the later Metropolis, dealt with similar themes.
Plot summary
The book's protagonist is an English scientist and gentleman inventor living in Richmond, Surrey, identified by a narrator simply as the Time Traveller. The narrator recounts the Traveller's lecture to his weekly dinner guests that time is simply a fourth dimension, and his demonstration of a tabletop model machine for travelling through it. He reveals that he has built a machine capable of carrying a person, and returns at dinner the following week to recount a remarkable tale, becoming the new narrator:
The Time Traveller tests his device with a journey that takes him to the year A.D. 802,701, where he meets the Eloi, a society of small, elegant, androgynous, and childlike people. They live in small communities within large and futuristic yet slowly deteriorating buildings, doing no work and having a frugivorous diet. His efforts to communicate with them are hampered by their lack of curiosity or discipline, and he concludes that they are a peaceful communist society, the result of humanity conquering nature with technology, and subsequently evolving to adapt to an environment in which strength and intellect are no longer advantageous to survival.
Returning to the site where he arrived, the Time Traveller finds his time machine missing, and eventually works out that it has been dragged by some unknown party into a nearby structure with heavy doors, locked from the inside. Later in the dark, he is approached menacingly by the Morlocks, pale, apelike people who live in darkness underground, where he discovers the machinery and industry that makes the above-ground paradise possible. He alters his theory, speculating that the human race has evolved into two species: the leisured classes have become the ineffectual Eloi, and the downtrodden working classes have become the brutish light-fearing Morlocks. Deducing that the Morlocks have taken his time machine, he explores the Morlock tunnels, learning that they feed on the Eloi. His revised analysis is that their relationship is not one of lords and servants but of livestock and ranchers, and with no real challenges facing either species. They have both lost the intelligence and character of Man at its peak.
Meanwhile, he saves an Eloi named Weena from drowning, and they develop an innocently affectionate relationship over the course of several days. He takes Weena with him on an expedition to a distant structure that turns out to be the remains of a museum, where he finds a fresh supply of matches and fashions a crude weapon against Morlocks, whom he fears he must fight to get back his machine. But the long and tiring journey back to Weena's home is too much for them, they are overcome by Morlocks in the night, and Weena is injured. The Traveller escapes only when a small fire he had left behind them to distract the Morlocks catches up to them as a forest fire; Weena is lost to the fire.
The Morlocks use the time machine as bait to ensnare the Traveller, not understanding that he will use it to escape. He travels further ahead to roughly 30 million years from his own time. There he sees some of the last living things on a dying Earth, menacing reddish crab-like creatures slowly wandering the blood-red beaches of a world covered in simple vegetation. He continues to make short jumps through time, seeing Earth's rotation gradually cease and the sun grow dimmer, and the world falling silent and freezing as the last degenerate living things die out.
Overwhelmed, he returns to his laboratory, at just three hours after he originally left. Interrupting dinner, he relates his adventures to his disbelieving visitors, producing as evidence two strange flowers Weena had put in his pocket. The original narrator takes over and relates that he returned to the Time Traveller's house the next day, finding him in final preparations for another journey. The Traveller promises to return in half an hour, but three years later, the narrator despairs of ever learning what became of him.
Deleted text
A section from the 11th chapter of the serial published in New Review (May, 1895) was deleted from the book. It was drafted at the suggestion of Wells's editor, William Ernest Henley, who wanted Wells to "oblige your editor" by lengthening out the text with, among other things, an illustration of "the ultimate degeneracy" of man. "There was a slight struggle," Wells later recalled, "between the writer and W. E. Henley who wanted, he said, to put a little 'writing' into the tale. But the writer was in reaction from that sort of thing, the Henley interpolations were cut out again, and he had his own way with his text." This portion of the story was published elsewhere as The Grey Man. This deleted text was also published by Forrest J. Ackerman in an issue of the American edition of Perry Rhodan.
The deleted text recounts an incident immediately after the Traveller's escape from the Morlocks. He finds himself in the distant future of an unrecognisable Earth, populated with furry, hopping herbivores. He stuns or kills one with a rock, and upon closer examination realizes they are probably the descendants of humans/Eloi/Morlocks. A gigantic, centipede-like arthropod approaches and the Traveller flees into the next day, finding that the creature has apparently eaten the tiny humanoid.
Film, TV, or theatrical adaptations
First adaptation
The first visual adaptation of the book was a live teleplay broadcast from Alexandra Palace on 25 January 1949 by the BBC, which starred Russell Napier as the Time Traveller and Mary Donn as Weena. No recording of this live broadcast was made; the only record of the production is the script and a few black and white still photographs. A reading of the script, however, suggests that this teleplay remained fairly faithful to the book.
Escape Radio broadcasts
The CBS radio anthology Escape adapted The Time Machine twice, in 1948 starring Jeff Corey, and again in 1950 starring John Dehner. In both episodes a script adapted by Irving Ravetch was used. The Time Traveller was named Dudley and was accompanied by his skeptical friend Fowler as they travelled to the year 100,080.
1960 film
George Pál (who also made a famous 1953 "modernised" version of Wells's The War of the Worlds) filmed The Time Machine in 1960. Rod Taylor (The Birds) starred, along with Yvette Mimieux as the young Eloi, Weena, Alan Young as his closest friend David Filby (and, in 1917 and 1966, his son James Filby), Sebastian Cabot as Dr Hillyer, Whit Bissell as Walter Kemp and Doris Lloyd as his housekeeper Mrs Watchett. The Time Traveller is addressed as George. The plate on the Time Machine which he builds, is inscribed 'Manufactured by H. George Wells'. This is clearly visible and easily read whenever the date indicator panel is shown in the film. The location is not stated anymore precisely than in the south of England, but is near a sharp bend of the river Thames, so is presumably still Richmond, Surrey.
This is more of an adventure tale than the book was; The story begins with the Time Traveller returning from his trip, unkempt and in disarray. He relates to his friends of what he has witnessed: wars' horrors first-hand in June, 1940 over London and a nuclear bomb in August, 1966. Travelling to 802,701 A.D., he finds world has settled into a vast garden. He meets the pacifist, illiterate and servile Eloi, who speak broken English, and have little interest in technology or the past. Their brethren from long ago, the Morlocks, however, although technologically competent, have devolved into cannibalistic underground workers. He deduces the division of mankind resulted from mutations induced by nuclear war - periodic air-raid sirens cause Weena and many Eloi to instinctively report to underground shelters run by the Morlocks. The Time Traveller goes down to rescue them, and encourages a leader among them to help them escape. Having escaped, and after throwing dead wood into the holes on the surface to feed a growing underground fire, they retreat to the river as underground explosions cause a cave-in. After getting to his machine, he is trapped behind a closed door with several Morlocks, whom he has to fight in order to escape. Battered, he makes it back to his scheduled dinner the next Friday January 5, 1900.
After relating his story, the Time Traveller leaves for a second journey, but Filby and Mrs Watchett note that he had taken three books from the shelves in his drawing room. Filby comments that George must've had a plan for a new Eloi civilisation. "Which three books would you have taken?" Filby inquires to Mrs. Watchett, adding " ... he has all the time in the world."
The film is noted for its then-novel use of time lapse photographic effects to show the world around the Time Traveller changing at breakneck speed as he travels through time. (Pal's earliest films had been works of stop-motion animation.)
Thirty-three years later, a combination sequel/documentary Time Machine: The Journey Back (1993 film), directed by Clyde Lucas, was produced. Rod Taylor hosted, with Bob Burns (also Ex Producer), Gene Warren Sr. and Wah Chang as guests. Michael J. Fox (who had himself portrayed a time traveller in the Back to the Future trilogy) spoke about time travelling in general. In the second half, written by original screenwriter David Duncan, the movie's original actors Rod Taylor, Alan Young and Whit Bissell reprise their roles. The Time Traveller returns to his laboratory in 1916, finding Filby there, and encourages his friend to join him in the far future — but Filby has doubts. (Time Machine: The Journey Back is featured as an extra on the DVD release of the 1960 film).
The Fantasy Film Worlds of George Pal
Main article: The Fantasy Film Worlds of George Pal
This film, produced and directed by Arnold Leibovit, is a biopic of George Pal. It contains a number of filmed elements from Pal's 1960 film version of The Time Machine.
1978 TV movie
A TV version was made in 1978, with time-lapse images of building walls being de-constructed, and geographic shifting from Los Angeles to Plymouth, Mass., and inland California. John Beck starred as Neil Perry, with Whit Bissell (from the original 1960 movie and also one of the stars of the 1966 television series The Time Tunnel) appearing as one of Perry's superiors. Though only going a few thousand years into the future, Perry finds the world of the Eloi and Morlocks, and learns the world he left will be destroyed by another of his own inventions. The character Weena was played by Priscilla Barnes of Three's Company fame.
1994 audio drama
In 1994 an audio drama was published on CD by Alien Voices, starring Leonard Nimoy as the Time Traveller (named John) and John de Lancie as David Filby. John de Lancie's children, Owen de Lancie and Keegan de Lancie, played the parts of the Eloi. The drama is approximately two hours long. Interestingly, this version of the story is more faithful to Wells's novella than either the 1960 movie or the 2002 movie.
2002 film
The 1960 film was remade in 2002, starring Guy Pearce as the Time Traveller, a mechanical engineering professor named Alexander Hartdegen, Mark Addy as his colleague David Filby, Sienna Guillory as Alex's ill-fated fiancée Emma, Phyllida Law as Mrs. Watchit, and Jeremy Irons as the uber-Morlock. Playing a quick cameo as a shopkeeper was Alan Young, who featured in the 1960 film. (H.G. Wells himself can also be said to have a "cameo" appearance, in the form of a photograph on the wall of Alex's home, near the front door.)
The film was directed by Wells's great-grandson Simon Wells, with an even more revised plot that incorporated the ideas of paradoxes and changing the past. The place is changed from Richmond, Surrey, to downtown New York City, where the Time Traveller moves forward in time to find answers to his questions on 'Practical Application of Time Travel;' first in 2030 New York, to witness an orbital lunar catastrophe in 2037, before moving on to 802,701 for the main plot. He later briefly finds himself in 635,427,810 with toxic clouds and a world laid waste (presumably by the Morlocks) with devastation and Morlock artefacts stretching out to the horizon.
It was met with generally mixed reviews and earned $56 million before VHS/DVD sales. The Time Machine used a design that was very reminiscent of the one in the Pal film, but was much larger and employed polished turned brass construction, along with rotating quartz/glasses reminiscent of the light gathering prismatic lenses common to lighthouses (In Wells's original book, the Time Traveller mentioned his 'scientific papers on optics'). Weena makes no appearance; Hartdegen instead becomes involved with a female Eloi named Mara, played by Samantha Mumba. In this film, the Eloi have, as a tradition, preserved a "stone language" that is identical to English. The Morlocks are much more barbaric and agile, and the Time Traveller has a direct impact on the plot.
2009 BBC Radio 3 broadcast
Robert Glenister stars as the Time Traveller, with William Gaunt as H. G. Wells in a new 100-minute radio dramatisation by Philip Osment, directed by Jeremy Mortimer as part of a BBC Radio Science Fiction season. This was the first adaptation of the novel for British radio. It was first broadcast on 22 February 2009 on BBC Radio 3. The other cast was:
* Time traveller - Robert Glenister
* Martha - Donnla Hughes
* Young HG Wells - Gunnar Cauthery
* Filby, friend of the young Wells - Stephen Critchlow
* Bennett, friend of the young Wells - Chris Pavlo
* Mrs Watchett, the traveller's housemaid - Manjeet Mann
* Weena, one of the Eloi and the traveller's partner - Jill Cardo
* Other parts - Robert Lonsdale, Inam Mirza and Dan Starkey
The adaptation retained the nameless status of the time traveller and set it as a true story told to the young Wells by the time traveller, which Wells then re-tells as an older man to the American journalist Martha whilst firewatching on the roof of Broadcasting House during the Blitz. It also retained the deleted ending from the novel as a recorded message sent back to Wells from the future by the traveller using a prototype of his machine, with the traveller escaping the anthropoid creatures to 30 million AD at the end of the universe before disappearing or dying there.
Wishbone episode
The Time Machine was featured in an episode of the PBS children's show Wishbone, entitled "Bark to the Future". Wishbone plays the role of the Time Traveller, where he meets Weena, takes her to an ancient library, and confronts the Morlocks. The parallel story has Wishbone's owner, Joe, relying on a calculator to solve percentage problems rather than his own intellect, recalling the mindset that created the lazy Eloi.
Sequels by other authors
Wells's novella has become one of the cornerstones of science-fiction literature. As a result, it has spawned many offspring. Works expanding on Wells's story include:
* The Return of the Time Machine by Egon Friedell, printed in 1972, from the 1946 German version. The author portrays himself as a character searching for the Time Traveller in different eras.
* The Hertford Manuscript by Richard Cowper, first published in 1976. It features a "manuscript" which reports the Time Traveller's activities after the end of the original story. According to this manuscript, the Time Traveller disappeared because his Time Machine had been damaged by the Morlocks without him knowing it. He only found out when it stopped operating during his next attempted time travel. He found himself on August 27, 1665, in London during the outbreak of the Great Plague of London. The rest of the novel is devoted to his efforts to repair the Time Machine and leave this time period before getting infected with the disease. He also has an encounter with Robert Hooke. He eventually dies of the disease on September 20, 1665. The story gives a list of subsequent owners of the manuscript until 1976. It also gives the name of the Time Traveller as Robert James Pensley, born to James and Martha Pensley in 1850 and disappearing without trace on June 18, 1894.
* Morlock Night by K.W. Jeter, first published in 1979. A steampunk novel in which the Morlocks, having studied the Traveller's machine, duplicate it and invade Victorian London.
* The Space Machine by Christopher Priest, first published in 1976. Because of the movement of planets, stars and galaxies, for a time machine to stay in one spot on Earth as it travels through time, it must also follow the Earth's trajectory through space. In Priest's book, the hero damages the Time Machine, and arrives on Mars, just before the start of the invasion described in The War of the Worlds. H.G. Wells himself appears as a minor character.
* Time Machine II by George Pal and Joe Morhaim, published in 1981. The Time Traveller, named George, and the pregnant Weena try to return to his time, but instead land in the London Blitz, dying during a bombing raid. Their newborn son is rescued by an American ambulance driver, and grows up in the United States under the name Christopher Jones. Sought out by the lookalike son of James Filby, Jones goes to England to collect his inheritance, leading ultimately to George's journals, and the Time Machine's original plans. He builds his own machine with 1970s upgrades, and seeks his parents in the future.
* The Time Ships, by Stephen Baxter, first published in 1995. This sequel was officially authorized by the Wells estate to mark the centenary of the original's publication. In its wide-ranging narrative, the Traveller's desire to return and rescue Weena is thwarted by the fact that he has changed history (by telling his tale to his friends, one of whom published the account). With a Morlock (in the new history, the Morlocks are intelligent and cultured), he travels through the multiverse as increasingly complicated timelines unravel around him, eventually meeting mankind's far future descendants, whose ambition is to travel into the multiverse of multiverses.[clarification needed] This sequel includes many nods to the prehistory of Wells's story in the names of characters and chapters.
* The 2003 short story "On the Surface" by Robert J. Sawyer begins with this quote from the Wells original: "I have suspected since that the Morlocks had even partially taken it [the time machine] to pieces while trying in their dim way to grasp its purpose." In the Sawyer story, the Morlocks develop a fleet of time machines and use them to conquer the same far future Wells depicted at the end of the original, by which time, because the sun has grown red and dim and thus no longer blinds them, they can reclaim the surface of the world.
* The Man Who Loved Morlocks and The Trouble With Weena (The Truth about Weena) are two different sequels, the former a novel and the latter a short story, by David J. Lake. Each of them concerns the Time Traveller's return to the future. In the former, he discovers that he cannot enter any period in time he has already visited, forcing him to travel in to the further future, where he finds love with a woman whose race evolved from Morlock stock. In the latter, he is accompanied by Wells, and succeeds in rescuing Weena and bringing her back to the 1890s, where her political ideas cause a peaceful revolution.
* In Michael Moorcock's Dancers at the End of Time series, the Time Traveller is a very minor character, his role consists of being shocked by the decadence of the inhabitants of the End of Time. H.G. Wells also appears briefly in this series when the characters visit Bromley in 1896.
* The Time Traveller makes a brief appearance in Allan and the Sundered Veil, a back-up story appearing in the first volume of Alan Moore and Kevin O'Neill's The League of Extraordinary Gentlemen, Volume I, where he saves Allan Quatermain, John Carter and Randolph Carter from a horde of Morlocks.
* The time-travelling hero known as "The Rook" (who appeared in various comics from Warren Publishing) is the grandson of the original Time Traveller. In one story, he met the Time Traveller, and helps him stop the Morlocks from wiping out the Eloi.
* Philip José Farmer speculated that the Time Traveller was a member of the Wold Newton family. He is said to have been the great-uncle of Doc Savage.
* Burt Libe wrote two sequels: Beyond the Time Machine and Tangles in Time, telling of the Time Traveller finally settling down with Weena in the 33rd century. They have a few children, the youngest of whom is the main character in the second book.
* In 2006, Monsterwax Trading Cards combined The Time Machine with two of Wells's other stories, The Island of Dr. Moreau and The War of the Worlds. The resulting 102 card trilogy, by Ricardo Garijo, was entitled The Art of H. G. Wells. The continuing narrative links all three stories by way of an unnamed writer mentioned in Wells's first story, to the nephew of Ed Prendick (the narrator of Dr. Moreau), and another unnamed writer (narrator) in The War of the Worlds.
* In Ronald Wright's novel A Scientific Romance, a lonely museum curator on the eve of the millennium discovers a letter written by Wells shortly before his death, foretelling the imminent return of the Time Machine. The curator finds the machine, then uses it to travel into a post-apocalyptic future.
The Time Traveller
Although the Time Traveller's real name is never given in the original novel, other sources have named him.
One popular theory, encouraged by movies like Time After Time and certain episodes of the hit show Lois and Clark: The New Adventures of Superman, is that the Time Traveller is meant to be none other than H. G. Wells himself. Indeed, in the George Pál movie adaptation of The Time Machine, his name is given as George (also H. G. Wells's middle name). Due to the clarity of the DVD image, 'H.G. Wells' can be seen on the control panel of the device, making it obvious that the film's Time Traveller is H.G. Wells.
In Simon Wells' 2002 remake, the Time Traveller is named Alexander Hartdegen.
In The Time Ships, Stephen Baxter's sequels to The Time Machine, the Time Traveller encounters his younger self via time travel, who he nicknames 'Moses'. His younger self reacts with embarrassment to this, which implies that it may be a first name that he changed. This is a reference to H.G. Wells's story "The Chronic Argonauts", the story which grew into The Time Machine, in which the inventor of the Time Machine is named Dr. Moses Nebogipfel. (The surname of Wells's first inventor graces another character in Baxter's book, as explained above.)
The Hartford Manuscript, another sequel to The Time Machine, gives the Time Traveller's name as Robert James Pensley.
Doc Savage: His Apocalyptic Life by Philip José Farmer gives the Time Traveller's name as Bruce Clarke Wildman.
The Rook comic book series gives the Time Traveller's name as Adam Dane.
In the Doctor Who comic strip story "The Eternal Present", the character of Theophilus Tolliver is implied to be the Time Traveller of Wells's novel.
Also featured in Doctor Who is Wells, himself, appearing in the television serial Timelash. The events of this story are portrayed has having inspired Wells to write The Time Machine.
běn shū shì yīng guó kē huàn xiǎo shuō dà shī wēi 'ěr sī de míng zhù zhī yī。 shū zhōng miáo xiě yī gè qīng nián wù lǐ xué jiā gé lǐ fēn fā míng liǎo yī zhǒng yǐn shēn shù， bǎ zì jǐ biàn chéng liǎo lái qù wú zōng de yǐn shēn rén。 tiān cái de fā míng bìng méi yòu gěi zhè gè jí duān de gè rén zhù yì zhě dài lái rèn hé huān lè， fǎn shǐ tā lǚ zāo zāinàn， yǐ zhì yī bù bù zǒu xiàng fàn zuì de shēn yuān， zhí zhì biàn chéng yī gè kě pà de shā rén kuáng， ér bù kě bì miǎn dì zǒu xiàng zì wǒ huǐ miè。
dú tè qí yì de huàn xiǎng yì shù， sī sī rù kòu、 yǐn rén rù shèng de gù shì qíng jié， yǐ jí yùn hán shēn kè de shè huì nèi hán， dū zú yǐ zhèng míng《 yǐn shēn rén》 bù kuì shì yī bù shì jiè kē huàn xiǎo shuō de jīng diǎn zhī zuò。
Plot summary
The book starts in the English village of Iping in West Sussex, as curiosity and fear are started up in the inhabitants when a mysterious stranger arrives to stay at the local inn, The Coach and Horses. The stranger wears a long, thick coat, gloves, his face is hidden entirely by bandages, large goggles, and a wide-brimmed hat. The stranger is extremely reclusive and demands to be left alone, spending most of his time in his room working with a set of chemicals and laboratory apparatus, only venturing out at night. He quickly becomes the talk of the village as he unnerves the locals.
Meanwhile, a series of mysterious burglaries occur in the village in which the victims catch no sight of the thief. One morning when the innkeepers pass the stranger's room, they enter in curiosity when they notice the stranger's clothes are scattered all over the floor but the stranger is nowhere to be seen. The furniture seems to spring alive and the bedclothes and a chair leap into mid-air and push them out of the room. Later in the day Mrs. Hall confronts the stranger about this, and the stranger reveals that he is invisible, removing his bandages and goggles to reveal nothing beneath. As Mrs. Hall flees in horror, the police attempt to catch the stranger, but he throws off all his clothes and escapes.
The Invisible Man flees to the downs, where he frightens a tramp, Thomas Marvel, with his invisibility and forces him to become his lab assistant. Together with Marvel, he returns to the village where Marvel steals the Invisible Man's books and apparatus from the inn while the Invisible Man himself steals the doctor's and vicar's clothes. But after the theft, Marvel attempts to betray the Invisible Man to the police, and the Invisible Man chases after him, threatening to kill him.
Marvel flees to the seaside town of Burdock where he takes refuge in an inn. The Invisible Man attempts to break in through the back door but he is overheard and shot by a black-bearded American, and flees the scene badly injured. He enters a nearby house to take refuge and dress his wound. The house turns out to belong to Dr. Kemp, whom the Invisible Man recognises, and he reveals to Kemp his true identity — Griffin, a brilliant medical student with whom Kemp studied at university.
Mr. Griffin explains to his old friend Kemp that after leaving university he was desperately poor. Determined to achieve something of scientific significance, he began to work on an experiment to make people and objects invisible, using money stolen from his own father, who committed suicide after being robbed by his son. Griffin experimented with a formula that altered the refractive index of objects, which resulted in light not bending when passing through the object, thereby making it invisible. He performed the experiment using a cat, but when the cat's owner, Griffin's neighbor, realized the cat was missing, she made a complaint to their landlord, and Griffin wound up performing the invisibility procedure on himself to hide from them. Griffin theorizes part of the reason he can be invisible stems from the fact he is albino, mentioning that food becomes visible in his stomach and remains so until digested, with the bizarre image passing through air in the meantime.
After burning the boarding house down to cover his tracks, he felt a sense of invincibility from being invisible. However, reality soon proved that sense misguided. After struggling to survive out in the open, he stole some clothing from a dingy backstreet shop and took residence at the Coach & Horses inn to reverse the experiment. He then explains to Kemp that he now plans to begin a Reign of Terror (The First Year of the Invisible Man), using his invisibility to terrorize the nation with Kemp as his secret confederate.
Realizing that Griffin is clearly insane, Kemp has no plans to help him and instead alerts the police. When the police arrive, Griffin violently assaults Kemp and a policeman before escaping, and the next day he leaves a note on Kemp's doorstep announcing that Kemp will be the first man killed in the Reign of Terror. Kemp remains cool and writes a note to the Colonel, detailing a plan to use himself as bait to trap the Invisible Man, but as a maidservant attempts to deliver the note she is attacked by Griffin and the note is stolen.
Just as the police accompany the attacked maid back to the house, the Invisible Man breaks in through the back door and makes for Kemp. Keeping his head cool, Kemp bolts from the house and runs down the hill to the town below, where he alerts a navvy that the Invisible Man is approaching. The crowd in the town, witnessing the pursuit, rally around Kemp. When Kemp is pinned down by Griffin, the navvy strikes him with a spade and knocks him to the ground, and he is violently assaulted by the workers. Kemp calls for the mob to stop, but it is too late. The Invisible Man dies of the injuries he has received, and his naked and battered body slowly becomes visible on the ground after he dies. Later it is revealed that Marvel has Griffin's notes, with the invisibility formula written in a mix of Russian and Greek which he cannot read, and with some pages washed out.
Characters
Griffin
"The Invisible Man" cover art.
Dr. Kemp
Dr. Kemp is a scientist living in the town of Port Burdock. He is an old friend of Griffin, who comes to his house to hide after Griffin's transformation into the "invisible man." Kemp has a hard time accepting the fact that his friend, who he had not seen for years, suddenly appears uninvited and invisible, but eventually he overcomes his shock and sits down and talks with Griffin and betrays him.
Narrative-wise, Kemp then allows Griffin to relate the story of how he began his experiments, and all that happened to him between his arrival on his old friend's doorstep and then. Kemp, realizing that Griffin is insane with power, is quick to summon Colonel Adye of the Port Burdock police. Adye fails to apprehend Griffin, who escapes and brands Kemp a traitor, vowing to kill him.
Despite the death threat, Kemp is no coward, and actively assists and advises Adye in quest to find and apprehend the Invisible Man while the police colonel serves as his bodyguard. Eventually Griffin overpowers Adye and comes after Kemp, who, rushing through the streets of Port Burdock, rouses the townspeople into a mob which attacks the Invisible Man and brings his reign of terror to an end.
The film
In the 1933 Universal film adaptation of the book, Kemp is given the first name Arthur and is played by William Harrigan.
Kemp of the film is a much less likable character, and isn't as fortunate as his literary counterpart. Here, Arthur Kemp is a "friend" of Dr. Jack Griffin, who serves as an assistant to Dr. Cranley. Unlike Griffin, Kemp is a thoroughly incompetent scientist, as well as an opportunistic coward. He continually criticises Griffin for his experiments with monocane, and secretly covets Griffin's fiancé (and Dr. Cranley's daughter) Flora.
When Griffin disappears and goes to the remote village of Iping, Kemp attempts to report his colleague's questionable experiments to Dr. Cranley, and tries to woo Flora. Although he manages to convince Cranley that Griffin is up to no good, however, he fails to persuade Flora to forget about her beloved Jack. Shortly after this, Griffin, now made invisible as a result of his monocane experiments and hunted as a criminal by the police in Iping, turns up in Kemp's house seeking his old colleague's assistance.
Although Kemp initially goes along with Griffin's plans, helping him retrieve his notebooks from the Lion's Head Inn (where, unbeknownst to Kemp, Griffin has murdered Inspector Bird), Kemp soon grows too afraid of Griffin to continue assisting him, and alerts Flora, Dr. Cranley, and the police to Griffin's whereabouts. Although Griffin is delighted to be reunited with Flora, his increasing madness frightens her away.
Shortly after, Kemp secretly phones the police, but is overheard by Griffin.
Kemp is marked for death by a furious Griffin, and despite intensive police protection and a daring plan by Inspector Lane to get Kemp safely out into the country disguised as a police officer, Griffin manages to make good on his threats: he ties Kemp up, puts him into his car, and then sends the car over a cliff. Kemp perishes in the crash.
Mr. Hall
Mr. Hall is the husband of Mrs. Hall and helps her run the Coach and Horses Inn. He is the first person in Iping to notice that the mysterious Griffin is invisible: when a dog bites him and tears his glove, Griffin retreats to his room and Hall follows to see if he is all right, only to see Griffin without his glove and handless (or so it appears to Hall).
Mr. Hall appears in the 1933 Universal film adaptation, where he is given the first name Herbert and seriously injured by Griffin. In the film, he is portrayed by Forrester Harvey.
Mrs. Hall
Mrs. Hall is the wife of Mr. Hall and the owner of the Coach and Horses Inn.
A very friendly, down-to-earth woman who enjoys socializing with her guests, Mrs. Hall is continually frustrated by the mysterious Griffin's refusal to talk with her, and his repeated temper tantrums.
Mrs. Hall appears in the 1933 Universal film adaptation, where she was played by Una O'Connor and given the first name Jenny. In the film version, her primary occupation is to scream.
Thomas Marvel
Thomas Marvel is a jolly old tramp unwittingly recruited to assist the Invisible Man as his first visible partner. He carries around the Invisible Man's scientific notebooks for him and, eventually, a large sum of money that Griffin had stolen from a bank. Eventually Thomas grows afraid of his unseen partner and flees to Port Burdock, taking both the notebooks and the money with him, where he seeks police protection.
Although the Invisible Man is furious and vows to kill Thomas for his betrayal, and even makes an attempt on his life before being driven off by a police officer, he becomes preoccupied with hiding from the law and retaliating against Dr. Kemp, and Thomas is spared.
Marvel eventually uses the stolen money to open his own inn, which he calls the Invisible Man, and becomes very wealthy. He also secretly studies Griffin's notes, fancying that one day he will figure out the secret of invisibility. However, he cannot read the foreign language that Griffin has written it in, and some pages have been washed clean after being in a ditch.
In Alan Moore's comics series The League of Extraordinary Gentlemen, in which Griffin is a major character, people have suggested that Marvel may have been the man killed by a mob at the end of the original novel, after being substituted by Griffin himself. The only problem with this suggestion is, as Campion Bond introduces the league to Griffin, he commented Griffin made a half-wit albino invisible first.
Marvel does not appear in the 1933 film.
Col. Adye
Col. Adye is the chief of police in the town of Port Burdock. He is called upon by Dr. Kemp when the Invisible Man turned up in Kemp's house talking of taking over the world with his "terrible secret" of invisibility. A very able-bodied and reliable officer, Adye not only saves Kemp from the Invisible Man's first attempt on his life but also spearheads the hunt for the unseen fugitive.
He is eventually shot by the Invisible Man with Kemp's revolver. Upon being shot, Adye is described as falling down and not getting back up. However, he is mentioned in the epilogue as being one of those who had questioned Thomas Marvel about the whereabouts of the Invisible Man's notebooks, and is never made clear whether this occurred prior to his being shot, or if it occurred afterwards and Adye survived.
Dr. Cuss
Dr. Cuss is a doctor living in the town of Iping.
Intrigued by tales of a bandaged stranger staying at the Coach and Horses Inn, Dr. Cuss goes to see him under the pretense of asking for a donation to the nurse's fund. The strange man, Griffin, scares Cuss away by pinching his nose with his invisible hand. Cuss went immediately to see Rev. Bunting, who not surprisingly did not believe the doctor's wild story.
Later, after Griffin had been exposed as The Invisible Man, Cuss and Bunting got ahold of his notebooks, but these were stolen back from them by the invisible Griffin, who took both men's clothes. Although the unlucky Reverend had all his clothing stolen by Griffin, Cuss only lost his trousers.
J. A. Jaffers
J. A. Jaffers is a constable in the town of Iping. He is called upon by Mr. and Mrs. Hall to arrest Griffin after they suspected him of robbing the Reverend Bunting. Like most of the people in Iping, Jaffers was both openminded and adaptable - He overcame his shock at the discovery that Griffin was invisible quickly, determined to arrest him in spite of this.
Jaffers appears in the 1933 Universal film adaptation.
The Rev Mr Bunting
The Rev Mr Bunting is a vicar in the town of Iping. Dr. Cuss went to see him following his first encounter with Griffin. Bunting laughed at Cuss' claims of an invisible hand pinching his nose, but the next night his home was burgled by the Invisible Man himself.
Later, Bunting and Cuss tried to read Griffin's notes but were stopped by the Invisible Man, who stole their clothes. Although Cuss escaped missing only his trousers, Bunting had his entire wardrobe purloined.
Adaptations
Films
* The Invisible Man, a 1933 film directed by James Whale and produced by Universal Pictures. Griffin was played by Claude Rains and given the first name "Jack". The film is considered one of the great Universal horror films of the 1930s, and it spawned a number of sequels, plus many spinoffs using the idea of an "invisible man" that were largely unrelated to Wells's original story and using a relative of Griffin as a secondary character possessing the invisibility formula. These were; The Invisible Man Returns (1940) with Vincent Price as Geoffrey Radcliffe, the film's Invisible Man; The Invisible Woman (1940) with Virginia Bruce as the title character and John Barrymore as the scientist who invents the invisibility process; Invisible Agent (1942) and The Invisible Man's Revenge (1944) both starring Jon Hall (as different Invisible Men); and Abbott and Costello Meet the Invisible Man (1951) with Arthur Franz as Tommy Nelson, a boxer framed for murder who takes the invisibility formula to find the real killer and clear his name. Vincent Price also provided the voice of the Invisible Man at the conclusion of Abbott and Costello Meet Frankenstein (1948).
* Tomei Ningen, a 1954 Japanese film, released by legendary studio Toho. It is a loose adaptation of the story.
* The New Invisible Man, a 1957 Mexican version starring Arturo de Cordova as the title character; this film is a remake of The Invisible Man Returns (1940).
* Mad Monster Party (1967) included the Invisible Man (voiced by Allen Swift) as part of the monster ensemble.
* The Invisible Woman, a 1983 TV-movie pilot for a comedy series starring Alexa Hamilton.
* Человек-невидимка (Pronunciation: Chelovek-nevidimka; translation: The Invisible Man), a 1984 Soviet movie directed by Aleksandr Zakharov, with Andrei Kharitonov as Griffin. The plot was changed: Griffin was shown as a scientist talented but not understood by his contemporaries, and Kemp (starring Romualdas Ramanauskas) as a vicious person who wanted to become a ruler of the world with Griffin's help. When Griffin rejected Kemp's proposal, the last did all his best to kill him (and finally succeeded). The movie remained unknown to the Western audience because of a violation of Wells's copyright.[citation needed]
* Amazon Women on the Moon, a 1987 comedy anthology film featured a spoof titled Son of the Invisible Man, with Ed Begley, Jr. playing the son of the original Invisible Man who believes he is invisible, but is in fact visible - creating an awkward situation when he confidently disrobes in front of everyone.
* Memoirs of an Invisible Man, a 1992 modernized version of the story, starring Chevy Chase as a man who is accidentally made invisible and is then hunted by a government agent who wishes to use him as a weapon.
* Hollow Man, a 2000 film starring Kevin Bacon, and directed by Paul Verhoeven; this film spawned a 2006 direct-to-video sequel Hollow Man 2 starring Christian Slater as "Michael Griffin" and directed by Claudio Fah.
* A feature film entitled The Invisible Man is scheduled to hit theaters in 2010.
Stage
* Ken Hill adapted the book to play form in 1991, and it debuted at Theatre Royal Stratford East in 1991. It played in the West End in 1993 with Michael N. Harbour as Griffin.
The cast for the production at Stratford East in 1991 was as follows -; Jon Finch [Griffin], Brian Murphy [Thomas Marvel], Toni Palmer [Mrs Hall], Andrew Secombe [Squire Burdock], Geoffrey Freshwater [PC Jaffers/Dr Kemp], Caroline Longo [Miss Statchell], Liza Hayden [Millie], Miles Richardson [Dr Cuss/ Fearenside/Wadgers/Col. Adye], Philip Newman [Wicksteed], Jonathan Whaley [MC/ Teddy Henfrey/Rev. Bunting].
Radio
* The 2001 Radio Tales drama "The Invisible Man" is an adaptation of the novel for National Public Radio.
dú tè qí yì de huàn xiǎng yì shù， sī sī rù kòu、 yǐn rén rù shèng de gù shì qíng jié， yǐ jí yùn hán shēn kè de shè huì nèi hán， dū zú yǐ zhèng míng《 yǐn shēn rén》 bù kuì shì yī bù shì jiè kē huàn xiǎo shuō de jīng diǎn zhī zuò。
Plot summary
The book starts in the English village of Iping in West Sussex, as curiosity and fear are started up in the inhabitants when a mysterious stranger arrives to stay at the local inn, The Coach and Horses. The stranger wears a long, thick coat, gloves, his face is hidden entirely by bandages, large goggles, and a wide-brimmed hat. The stranger is extremely reclusive and demands to be left alone, spending most of his time in his room working with a set of chemicals and laboratory apparatus, only venturing out at night. He quickly becomes the talk of the village as he unnerves the locals.
Meanwhile, a series of mysterious burglaries occur in the village in which the victims catch no sight of the thief. One morning when the innkeepers pass the stranger's room, they enter in curiosity when they notice the stranger's clothes are scattered all over the floor but the stranger is nowhere to be seen. The furniture seems to spring alive and the bedclothes and a chair leap into mid-air and push them out of the room. Later in the day Mrs. Hall confronts the stranger about this, and the stranger reveals that he is invisible, removing his bandages and goggles to reveal nothing beneath. As Mrs. Hall flees in horror, the police attempt to catch the stranger, but he throws off all his clothes and escapes.
The Invisible Man flees to the downs, where he frightens a tramp, Thomas Marvel, with his invisibility and forces him to become his lab assistant. Together with Marvel, he returns to the village where Marvel steals the Invisible Man's books and apparatus from the inn while the Invisible Man himself steals the doctor's and vicar's clothes. But after the theft, Marvel attempts to betray the Invisible Man to the police, and the Invisible Man chases after him, threatening to kill him.
Marvel flees to the seaside town of Burdock where he takes refuge in an inn. The Invisible Man attempts to break in through the back door but he is overheard and shot by a black-bearded American, and flees the scene badly injured. He enters a nearby house to take refuge and dress his wound. The house turns out to belong to Dr. Kemp, whom the Invisible Man recognises, and he reveals to Kemp his true identity — Griffin, a brilliant medical student with whom Kemp studied at university.
Mr. Griffin explains to his old friend Kemp that after leaving university he was desperately poor. Determined to achieve something of scientific significance, he began to work on an experiment to make people and objects invisible, using money stolen from his own father, who committed suicide after being robbed by his son. Griffin experimented with a formula that altered the refractive index of objects, which resulted in light not bending when passing through the object, thereby making it invisible. He performed the experiment using a cat, but when the cat's owner, Griffin's neighbor, realized the cat was missing, she made a complaint to their landlord, and Griffin wound up performing the invisibility procedure on himself to hide from them. Griffin theorizes part of the reason he can be invisible stems from the fact he is albino, mentioning that food becomes visible in his stomach and remains so until digested, with the bizarre image passing through air in the meantime.
After burning the boarding house down to cover his tracks, he felt a sense of invincibility from being invisible. However, reality soon proved that sense misguided. After struggling to survive out in the open, he stole some clothing from a dingy backstreet shop and took residence at the Coach & Horses inn to reverse the experiment. He then explains to Kemp that he now plans to begin a Reign of Terror (The First Year of the Invisible Man), using his invisibility to terrorize the nation with Kemp as his secret confederate.
Realizing that Griffin is clearly insane, Kemp has no plans to help him and instead alerts the police. When the police arrive, Griffin violently assaults Kemp and a policeman before escaping, and the next day he leaves a note on Kemp's doorstep announcing that Kemp will be the first man killed in the Reign of Terror. Kemp remains cool and writes a note to the Colonel, detailing a plan to use himself as bait to trap the Invisible Man, but as a maidservant attempts to deliver the note she is attacked by Griffin and the note is stolen.
Just as the police accompany the attacked maid back to the house, the Invisible Man breaks in through the back door and makes for Kemp. Keeping his head cool, Kemp bolts from the house and runs down the hill to the town below, where he alerts a navvy that the Invisible Man is approaching. The crowd in the town, witnessing the pursuit, rally around Kemp. When Kemp is pinned down by Griffin, the navvy strikes him with a spade and knocks him to the ground, and he is violently assaulted by the workers. Kemp calls for the mob to stop, but it is too late. The Invisible Man dies of the injuries he has received, and his naked and battered body slowly becomes visible on the ground after he dies. Later it is revealed that Marvel has Griffin's notes, with the invisibility formula written in a mix of Russian and Greek which he cannot read, and with some pages washed out.
Characters
Griffin
"The Invisible Man" cover art.
Dr. Kemp
Dr. Kemp is a scientist living in the town of Port Burdock. He is an old friend of Griffin, who comes to his house to hide after Griffin's transformation into the "invisible man." Kemp has a hard time accepting the fact that his friend, who he had not seen for years, suddenly appears uninvited and invisible, but eventually he overcomes his shock and sits down and talks with Griffin and betrays him.
Narrative-wise, Kemp then allows Griffin to relate the story of how he began his experiments, and all that happened to him between his arrival on his old friend's doorstep and then. Kemp, realizing that Griffin is insane with power, is quick to summon Colonel Adye of the Port Burdock police. Adye fails to apprehend Griffin, who escapes and brands Kemp a traitor, vowing to kill him.
Despite the death threat, Kemp is no coward, and actively assists and advises Adye in quest to find and apprehend the Invisible Man while the police colonel serves as his bodyguard. Eventually Griffin overpowers Adye and comes after Kemp, who, rushing through the streets of Port Burdock, rouses the townspeople into a mob which attacks the Invisible Man and brings his reign of terror to an end.
The film
In the 1933 Universal film adaptation of the book, Kemp is given the first name Arthur and is played by William Harrigan.
Kemp of the film is a much less likable character, and isn't as fortunate as his literary counterpart. Here, Arthur Kemp is a "friend" of Dr. Jack Griffin, who serves as an assistant to Dr. Cranley. Unlike Griffin, Kemp is a thoroughly incompetent scientist, as well as an opportunistic coward. He continually criticises Griffin for his experiments with monocane, and secretly covets Griffin's fiancé (and Dr. Cranley's daughter) Flora.
When Griffin disappears and goes to the remote village of Iping, Kemp attempts to report his colleague's questionable experiments to Dr. Cranley, and tries to woo Flora. Although he manages to convince Cranley that Griffin is up to no good, however, he fails to persuade Flora to forget about her beloved Jack. Shortly after this, Griffin, now made invisible as a result of his monocane experiments and hunted as a criminal by the police in Iping, turns up in Kemp's house seeking his old colleague's assistance.
Although Kemp initially goes along with Griffin's plans, helping him retrieve his notebooks from the Lion's Head Inn (where, unbeknownst to Kemp, Griffin has murdered Inspector Bird), Kemp soon grows too afraid of Griffin to continue assisting him, and alerts Flora, Dr. Cranley, and the police to Griffin's whereabouts. Although Griffin is delighted to be reunited with Flora, his increasing madness frightens her away.
Shortly after, Kemp secretly phones the police, but is overheard by Griffin.
Kemp is marked for death by a furious Griffin, and despite intensive police protection and a daring plan by Inspector Lane to get Kemp safely out into the country disguised as a police officer, Griffin manages to make good on his threats: he ties Kemp up, puts him into his car, and then sends the car over a cliff. Kemp perishes in the crash.
Mr. Hall
Mr. Hall is the husband of Mrs. Hall and helps her run the Coach and Horses Inn. He is the first person in Iping to notice that the mysterious Griffin is invisible: when a dog bites him and tears his glove, Griffin retreats to his room and Hall follows to see if he is all right, only to see Griffin without his glove and handless (or so it appears to Hall).
Mr. Hall appears in the 1933 Universal film adaptation, where he is given the first name Herbert and seriously injured by Griffin. In the film, he is portrayed by Forrester Harvey.
Mrs. Hall
Mrs. Hall is the wife of Mr. Hall and the owner of the Coach and Horses Inn.
A very friendly, down-to-earth woman who enjoys socializing with her guests, Mrs. Hall is continually frustrated by the mysterious Griffin's refusal to talk with her, and his repeated temper tantrums.
Mrs. Hall appears in the 1933 Universal film adaptation, where she was played by Una O'Connor and given the first name Jenny. In the film version, her primary occupation is to scream.
Thomas Marvel
Thomas Marvel is a jolly old tramp unwittingly recruited to assist the Invisible Man as his first visible partner. He carries around the Invisible Man's scientific notebooks for him and, eventually, a large sum of money that Griffin had stolen from a bank. Eventually Thomas grows afraid of his unseen partner and flees to Port Burdock, taking both the notebooks and the money with him, where he seeks police protection.
Although the Invisible Man is furious and vows to kill Thomas for his betrayal, and even makes an attempt on his life before being driven off by a police officer, he becomes preoccupied with hiding from the law and retaliating against Dr. Kemp, and Thomas is spared.
Marvel eventually uses the stolen money to open his own inn, which he calls the Invisible Man, and becomes very wealthy. He also secretly studies Griffin's notes, fancying that one day he will figure out the secret of invisibility. However, he cannot read the foreign language that Griffin has written it in, and some pages have been washed clean after being in a ditch.
In Alan Moore's comics series The League of Extraordinary Gentlemen, in which Griffin is a major character, people have suggested that Marvel may have been the man killed by a mob at the end of the original novel, after being substituted by Griffin himself. The only problem with this suggestion is, as Campion Bond introduces the league to Griffin, he commented Griffin made a half-wit albino invisible first.
Marvel does not appear in the 1933 film.
Col. Adye
Col. Adye is the chief of police in the town of Port Burdock. He is called upon by Dr. Kemp when the Invisible Man turned up in Kemp's house talking of taking over the world with his "terrible secret" of invisibility. A very able-bodied and reliable officer, Adye not only saves Kemp from the Invisible Man's first attempt on his life but also spearheads the hunt for the unseen fugitive.
He is eventually shot by the Invisible Man with Kemp's revolver. Upon being shot, Adye is described as falling down and not getting back up. However, he is mentioned in the epilogue as being one of those who had questioned Thomas Marvel about the whereabouts of the Invisible Man's notebooks, and is never made clear whether this occurred prior to his being shot, or if it occurred afterwards and Adye survived.
Dr. Cuss
Dr. Cuss is a doctor living in the town of Iping.
Intrigued by tales of a bandaged stranger staying at the Coach and Horses Inn, Dr. Cuss goes to see him under the pretense of asking for a donation to the nurse's fund. The strange man, Griffin, scares Cuss away by pinching his nose with his invisible hand. Cuss went immediately to see Rev. Bunting, who not surprisingly did not believe the doctor's wild story.
Later, after Griffin had been exposed as The Invisible Man, Cuss and Bunting got ahold of his notebooks, but these were stolen back from them by the invisible Griffin, who took both men's clothes. Although the unlucky Reverend had all his clothing stolen by Griffin, Cuss only lost his trousers.
J. A. Jaffers
J. A. Jaffers is a constable in the town of Iping. He is called upon by Mr. and Mrs. Hall to arrest Griffin after they suspected him of robbing the Reverend Bunting. Like most of the people in Iping, Jaffers was both openminded and adaptable - He overcame his shock at the discovery that Griffin was invisible quickly, determined to arrest him in spite of this.
Jaffers appears in the 1933 Universal film adaptation.
The Rev Mr Bunting
The Rev Mr Bunting is a vicar in the town of Iping. Dr. Cuss went to see him following his first encounter with Griffin. Bunting laughed at Cuss' claims of an invisible hand pinching his nose, but the next night his home was burgled by the Invisible Man himself.
Later, Bunting and Cuss tried to read Griffin's notes but were stopped by the Invisible Man, who stole their clothes. Although Cuss escaped missing only his trousers, Bunting had his entire wardrobe purloined.
Adaptations
Films
* The Invisible Man, a 1933 film directed by James Whale and produced by Universal Pictures. Griffin was played by Claude Rains and given the first name "Jack". The film is considered one of the great Universal horror films of the 1930s, and it spawned a number of sequels, plus many spinoffs using the idea of an "invisible man" that were largely unrelated to Wells's original story and using a relative of Griffin as a secondary character possessing the invisibility formula. These were; The Invisible Man Returns (1940) with Vincent Price as Geoffrey Radcliffe, the film's Invisible Man; The Invisible Woman (1940) with Virginia Bruce as the title character and John Barrymore as the scientist who invents the invisibility process; Invisible Agent (1942) and The Invisible Man's Revenge (1944) both starring Jon Hall (as different Invisible Men); and Abbott and Costello Meet the Invisible Man (1951) with Arthur Franz as Tommy Nelson, a boxer framed for murder who takes the invisibility formula to find the real killer and clear his name. Vincent Price also provided the voice of the Invisible Man at the conclusion of Abbott and Costello Meet Frankenstein (1948).
* Tomei Ningen, a 1954 Japanese film, released by legendary studio Toho. It is a loose adaptation of the story.
* The New Invisible Man, a 1957 Mexican version starring Arturo de Cordova as the title character; this film is a remake of The Invisible Man Returns (1940).
* Mad Monster Party (1967) included the Invisible Man (voiced by Allen Swift) as part of the monster ensemble.
* The Invisible Woman, a 1983 TV-movie pilot for a comedy series starring Alexa Hamilton.
* Человек-невидимка (Pronunciation: Chelovek-nevidimka; translation: The Invisible Man), a 1984 Soviet movie directed by Aleksandr Zakharov, with Andrei Kharitonov as Griffin. The plot was changed: Griffin was shown as a scientist talented but not understood by his contemporaries, and Kemp (starring Romualdas Ramanauskas) as a vicious person who wanted to become a ruler of the world with Griffin's help. When Griffin rejected Kemp's proposal, the last did all his best to kill him (and finally succeeded). The movie remained unknown to the Western audience because of a violation of Wells's copyright.[citation needed]
* Amazon Women on the Moon, a 1987 comedy anthology film featured a spoof titled Son of the Invisible Man, with Ed Begley, Jr. playing the son of the original Invisible Man who believes he is invisible, but is in fact visible - creating an awkward situation when he confidently disrobes in front of everyone.
* Memoirs of an Invisible Man, a 1992 modernized version of the story, starring Chevy Chase as a man who is accidentally made invisible and is then hunted by a government agent who wishes to use him as a weapon.
* Hollow Man, a 2000 film starring Kevin Bacon, and directed by Paul Verhoeven; this film spawned a 2006 direct-to-video sequel Hollow Man 2 starring Christian Slater as "Michael Griffin" and directed by Claudio Fah.
* A feature film entitled The Invisible Man is scheduled to hit theaters in 2010.
Stage
* Ken Hill adapted the book to play form in 1991, and it debuted at Theatre Royal Stratford East in 1991. It played in the West End in 1993 with Michael N. Harbour as Griffin.
The cast for the production at Stratford East in 1991 was as follows -; Jon Finch [Griffin], Brian Murphy [Thomas Marvel], Toni Palmer [Mrs Hall], Andrew Secombe [Squire Burdock], Geoffrey Freshwater [PC Jaffers/Dr Kemp], Caroline Longo [Miss Statchell], Liza Hayden [Millie], Miles Richardson [Dr Cuss/ Fearenside/Wadgers/Col. Adye], Philip Newman [Wicksteed], Jonathan Whaley [MC/ Teddy Henfrey/Rev. Bunting].
Radio
* The 2001 Radio Tales drama "The Invisible Man" is an adaptation of the novel for National Public Radio.
hè xū lí shì yīng guó 'èr shí shì jì sān wèi zuì yòu yǐng xiǎng de fěng cì wén xué zuò jiā zhī yī . qí dài biǎo zuò , xiǎo shuō《 qí miào de xīn shì jiè》 chū bǎn yú 1932 nián . xiǎo shuō mào sì kē xué huàn xiǎng , shí zhì shàng yòu jiào shēn de zhèng zhì hé dào dé hán yì . zhè běn báobáo de shí duō wàn zì de xiǎo shuō fā biǎo hòu , hěn kuài jiù bèi yì chéng jǐ shí zhǒng guó jiā wén zì . hè xū lí de《 qí miào de xīn shì jiè》、 qiáo zhì · ào wéi 'ěr de《 yī jiǔ bā sì》 hé sū lián zuò jiā yè · zhā yà jīng de《 wǒ men》 bèi mǒu xiē píng lùn jiā chēng wéi gāi shì jì de " fǎn wū tuō bāng sān bù qū ". mù qián ,《 qí miào de xīn shì jiè》 bèi liè wéi xī fāng yī bǎi běn bì dú shū zhī yī .
In 1999, the Modern Library ranked Brave New World fifth on its list of the 100 best English-language novels of the 20th century.
Title
Brave New World's ironic title derives from Miranda's speech in Shakespeare's The Tempest, Act V, Scene I:
O wonder!
How many goodly creatures are there here! How beauteous mankind is! O brave new world! That has such people in it!
This line is word-by-word quoted in the novel by John the Savage, when he first sees Lenina.
The expression "brave new world" also appears in Émile Zola's Germinal (1885):
He laughed at his earlier idealism, his schoolboy vision of a brave new world in which justice would reign and men would be brothers.
and in Rudyard Kipling's 1919 poem The Gods of the Copybook Headings:
And that after this is accomplished, and the brave new world begins
When all men are paid for existing and no man must pay for his sins...
Translations of the novel into other languages often allude to similar expressions used in domestic works of literature in an attempt to capture the same irony: the French edition of the work is entitled Le Meilleur des mondes (The Best of All Worlds), an allusion to an expression used by the philosopher Gottfried Leibniz and satirized in Candide, Ou l'Optimisme by Voltaire (1759). The German title of the book is Schöne Neue Welt (Beautiful New World). First the word "brave" was translated to "Tapfer", which is the correct modern translation of "brave." Translators later recognized that, at Shakespeare's time, "brave" meant "beautiful" or "good looking".
Background
Huxley wrote Brave New World in 1931 while he was living in Guatemala and El Salvador (a British writer, he moved to California in 1937). By this time, Huxley had already established himself as a writer and social satirist. He was a contributor to Vanity Fair and Vogue magazines, had published a collection of his poetry (The Burning Wheel, 1916) and four successful satirical novels: Crome Yellow (1921), Antic Hay (1923), Those Barren Leaves (1925) and Point Counter Point (1928). Brave New World was Huxley's fifth novel and first dystopian work.
Brave New World was inspired by the H. G. Wells' utopian novel Men Like Gods. Wells' optimistic vision of the future gave Huxley the idea to begin writing a parody of the novel, which became Brave New World. Contrary to the most popular optimist utopian novels of the time, Huxley sought to provide a frightening vision of the future. Huxley referred to Brave New World as a "negative utopia" (see dystopia), somewhat influenced by Wells' own The Sleeper Awakes and the works of D. H. Lawrence.
George Orwell believed that Brave New World "must be partly derived from" We by Yevgeny Zamyatin. However, in a 1962 letter, Huxley says that he wrote Brave New World long before he had heard of We. According to We translator Natasha Randall, Orwell believed that Huxley was lying.
Huxley visited the newly opened and technologically advanced Brunner and Mond plant, part of Imperial Chemical Industries, or ICI, Billingham, and gives a fine and detailed account of the processes he saw. The introduction to the most recent print[vague] of Brave New World states that Huxley was inspired to write the classic novel by this Billingham visit.
Although the novel is set in the future, it contains contemporary issues of the early 20th century. The Industrial Revolution had transformed the world. Mass production had made cars, telephones, and radios relatively cheap and widely available throughout the developed world. The political, cultural, economic and sociological upheavals of the then-recent Russian Revolution of 1917 and the First World War (1914–1918) were resonating throughout the world as a whole and the individual lives of most people. Accordingly, many of the novel's characters named after widely-recognized influential people of the time, for example, Polly Trotsky, Benito Hoover, Lenina and Fanny Crowne, Mustapha Mond, Helmholtz Watson, and Bernard Marx.
Huxley was able to use the setting and characters from his science fiction novel to express widely held opinions, particularly the fear of losing individual identity in the fast-paced world of the future. An early trip to the United States gave Brave New World much of its character. Not only was Huxley outraged by the culture of youth, commercial cheeriness, sexual promiscuity and the inward-looking nature of many Americans; he had also found a book by Henry Ford on the boat to America. There was a fear of Americanization in Europe, so to see America firsthand, as well as read the ideas and plans of one of its foremost citizens, spurred Huxley to write Brave New World with America in mind. The "feelies" are his response to the "talkie" motion pictures, and the sex-hormone chewing gum is parody of the ubiquitous chewing gum, which was something of a symbol of America at that time. In an article in the 4 May 1935 issue of the Illustrated London News, G. K. Chesterton explained that Huxley was revolting against the "Age of Utopias" — a time, mostly before the First World War, inspired by what H. G. Wells and George Bernard Shaw were writing about socialism and a World State.
After the Age of Utopias came what we may call the American Age, lasting as long as the Boom. Men like Ford or Mond seemed to many to have solved the social riddle and made capitalism the common good. But it was not native to us; it went with a buoyant, not to say blatant optimism, which is not our negligent or negative optimism. Much more than Victorian righteousness, or even Victorian self-righteousness, that optimism has driven people into pessimism. For the Slump brought even more disillusionment than the War. A new bitterness, and a new bewilderment, ran through all social life, and was reflected in all literature and art. It was contemptuous, not only of the old Capitalism, but of the old Socialism. Brave New World is more of a revolt against Utopia than against Victoria.
For Brave New World, Huxley received nearly universal criticism from contemporary critics, although his work was later embraced. Even the few sympathetic critics tended to temper their praises with disparaging remarks.
Synopsis
edit] The Introduction (Chapters 1–6)
The novel opens in London in the "year of our Ford 632" (AD 2540 in the Gregorian Calendar). The vast majority of the population is unified under The World State, an eternally peaceful, stable global society in which goods and resources are plentiful (because the population is permanently limited to no more than two billion people) and everyone is happy. Natural reproduction has been done away with and children are created, 'decanted' and raised in Hatcheries and Conditioning Centres, where they are divided into five castes (which are further split into 'Plus' and 'Minus' members) and designed to fulfill predetermined positions within the social and economic strata of the World State. Foetuses chosen to become members of the highest caste, 'Alpha', are allowed to develop naturally while maturing to term in "decanting bottles", while foetuses chosen to become members of the lower castes ('Beta', 'Gamma', 'Delta', 'Epsilon') are subjected to in situ chemical interference to cause arrested development in intelligence or physical growth. Each 'Alpha' or 'Beta' is the product of one unique fertilized egg developing into one unique fetus. Members of lower castes are not unique but are instead created using the Bokanovsky process which enables a single egg to spawn (at the point of the story being told) up to 96 children and one ovary to produce thousands of children. People of these caste make up the majority of human society, and the production of such specialized children bolsters the efficiency and harmony of society, since these people are deliberately limited in their cognitive and physical abilities, as well as the scope of their ambitions and the complexity of their desires, thus rendering them easier to motivate, manipulate and control. All children are educated via the hypnopaedic process, which simultaneously provides each child with fact-based education and caste-appropriate subconscious messages to mold the child's life-long self-image, class conscientious, social outlook, habits, tastes, morals, ambitions and prejudices, and other values and ideals chosen by the leaders of the World State and their predetermined plans for producing future adult generations.
To maintain the World State's Command Economy for the indefinite future, all citizens are conditioned from birth to value consumption with such platitudes as "ending is better than mending," i.e., buy a new one instead of fixing the old one, because constant consumption, and near-universal employment to meet society's material demands, is the bedrock of economic and social stability for the World State. Beyond providing social engagement and distraction in the material realm of work or play, the need for transcendence, solitude and spiritual communion is addressed with the ubiquitous availability and universally-endorsed consumption of the drug soma. Soma is an allusion to a mythical drink of the same name consumed by ancient Indo-Aryans. In the book, soma is a hallucinogen that takes users on enjoyable, hangover-free "holidays", developed by the World State to provide such inner-directed personal experiences within the socially-managed context of State-run 'religious' organizations, social clubs, and the hypnopaedically-inculcated affinity to the State-produced drug as a self-medicating comfort mechanism in the face of stress or discomfort, thereby eliminating the need for religion or other personal allegiances outside or beyond the World State.
Recreational sex is an integral part of society. According to The World State, sex is a social activity, rather than a means of reproduction, and sexual activity is encouraged from early childhood. The few women who can reproduce are conditioned to use birth control (a "Malthusian belt", resembling a cartridge belt holding "the regulation supply of contraceptives", is a popular fashion accessory). The maxim "everyone belongs to everyone else" is repeated often, and the idea of a "family" is considered pornographic; sexual competition and emotional, romantic relationships are rendered obsolete because they are no longer needed. Marriage, natural birth, parenthood, and pregnancy are considered too obscene to be mentioned in casual conversation. Thus, society has developed a new idea of reproductive comprehension.
Spending time alone is considered an outrageous waste of time and money. Admitting to wanting to be an individual is shocking, horrifying, and embarrassing. This is why John, a character in the book, is later afforded celebrity-like status. Conditioning trains people to consume and never to enjoy being alone, so by spending an afternoon not playing "Obstacle Golf," or not in bed with a friend, one is forfeiting acceptance.
In The World State, people typically die at age 60 having maintained good health and youthfulness their whole life. Death isn't feared; anyone reflecting upon it is reassured by the knowledge that everyone is happy, and that society goes on. Since no one has family, they have no ties to mourn.
The conditioning system eliminates the need for professional competitiveness; people are literally bred to do their jobs and cannot desire another. There is no competition within castes; each caste member receives the same food, housing, and soma rationing as every other member of that caste. There is no desire to change one's caste, largely because a person's sleep-conditioning teaches that his or her caste is superior to the other four. To grow closer with members of the same class, citizens participate in mock religious services called Solidarity Services, in which twelve people consume large quantities of soma and sing hymns. The ritual progresses through group hypnosis and climaxes in an orgy. In geographic areas nonconducive to easy living and consumption, securely contained groups of "savages" are left to their own devices.
In its first chapters, the novel describes life in The World State as wonderful and introduces Lenina and Bernard. Lenina is a socially accepted woman, normal for her society, while Bernard, a psychologist, is an outcast. Although an Alpha Plus, Bernard is shorter in stature than the average of his caste—a quality shared by the lower castes, which gives him an inferiority complex. His work with sleep-teaching has led him to realize that what others believe to be their own deeply held beliefs are merely phrases repeated to children while they sleep. Still, he recognizes the necessity of such programming as the reason why his society meets the emotional needs of its citizens. Courting disaster, he is vocal about being different, once stating he dislikes soma because he'd "rather be himself". Bernard's differences fuel rumors that he was accidentally administered alcohol while incubated, a method used to keep Epsilons short.
Lenina, a woman who seldom questions her own motivations, is reprimanded by her friends because she is not promiscuous enough. However, she is still highly content in her role as a woman. Both fascinated and disturbed by Bernard, she responds to Bernard's advances to dispel her reputation for being too selective and monogamous.
Bernard's only friend is Helmholtz Watson, an Alpha Plus lecturer at the College of Emotional Engineering (Department of Writing). The friendship is based on their similar experiences as misfits, but unlike Bernard, Watson's sense of loneliness stems from being too gifted, too handsome, and too physically strong. Helmholtz is drawn to Bernard as a confidant: he can talk to Bernard about his desire to write poetry.
The Reservation and the Savage (Chapters 7–9)
Bernard, desperately wanting Lenina's attention, tries to impress her by taking her on holiday to a Savage Reservation. The reservation, located in New Mexico, consists of a community named Malpais (which in Spanish means "bad country", one of many Spanish puns throughout the novel). From afar, Lenina thinks it will be exciting. In person, she finds the aged, toothless natives who mend their clothes rather than throw them away repugnant, and the situation is made worse when she discovers that she has left her soma tablets at the resort hotel. Bernard is fascinated, although he realizes his seduction plans have failed.
In typical tourist fashion, Bernard and Lenina watch what at first appears to be a quaint native ceremony. The village folk, whose culture resembles that of the Pueblo peoples such as the Hopi and Zuni, begin by singing, but the ritual quickly becomes a passion play where a village boy is whipped to unconsciousness.
Soon after, the couple encounters Linda, a woman formerly of The World State who has been living in Malpais since she came on a trip and became separated from her group and her date, whom she refers to as "Tomakin" but who is revealed to be Bernard's boss the DHC at the conditioning center, Thomas. She became pregnant because she mistimed her "Malthusian Drill" and there were no facilities for an abortion. Linda gave birth to a son, John (later referred to as John the Savage) who is now eighteen.
Through conversations with Linda and John, we learn that their life has been hard. For eighteen years, they have been treated as outsiders; the natives hate Linda for sleeping with all the men of the village, as she was conditioned to do, and John was mistreated and excluded for his mother's actions, not to mention the role of racism. John's one joy was that his mother had taught him to read, although he only had two books: a scientific manual from his mother's job, which he called a "beastly, beastly book" and refused to read, and a collection of the works of Shakespeare (a work banned in The World State). John has been denied the religious rituals of the village, although he has watched them and even has had some of his own religious experiences in the desert.
Old, weathered and tired, Linda wants to return to her familiar world in London; she is tired of a life without soma. John wants to see the "brave new world" his mother has told him so much about. Bernard wants to take them back as revenge against Thomas, who had just reassigned Bernard to Iceland as punishment for his antisocial beliefs. Bernard arranges permission for Linda and John to leave the reservation.
The Savage visits the World State (Chapters 10–18)
Upon his return to London, Bernard is confronted by Thomas Tomakin, the Director of the Hatchery and Conditioning Centre who, in front of an audience of higher-caste Centre workers, denounces Bernard for his antisocial behaviour. Bernard, thinking that for the first time in his life he has the upper hand, defends himself by presenting the Director with his long lost lover and unknown son, Linda and John. The humiliated Director resigns in shame and is himself sent to Iceland.
Spared from reassignment, Bernard makes John the toast of London. Pursued by the highest members of society, able to bed any woman he fancies, Bernard revels in attention he once scorned. Everyone who is anyone will endure Bernard to dine with the interesting, different, beautiful John. Even Lenina grows fond of the savage, while the savage falls in love with her. Bernard, intoxicated with attention, falls in love with himself. In short, John brings tremendous happiness upon the citizens of London.
The victory, however, is short lived. Linda, decrepit, toothless, friendless, goes on a permanent soma holiday while John, appalled by what he perceives to be an empty society, refuses to attend Bernard's parties. Society drops Bernard as swiftly as it had taken him. Bernard turns to the person he'd believed to be his one true friend, only to see Helmholtz fall into a quick, easy camaraderie with John. Bernard is left an outcast yet again as he watches the only two men he ever connected with find more of interest in each other than they ever did in him.
John and Helmholtz's island of peace is brief. John grows frustrated by a society he finds wicked and debased. He is moved by Lenina, but also loathes her sexual advances, which revolt and shame him. He is heartbroken when his mother succumbs to soma and dies in a hospital. John's grief bewilders and revolts the hospital workers, and their lack of reaction to Linda's death prompts John to try to force humanity from the workers by throwing their soma rations out a window. The ensuing riot brings the police, who soma-gas the crowd. Bernard and Helmholtz arrive to help John, but only Helmholtz helps him, while Bernard stands to the side, torn between risking involvement by helping or escaping the scene.
When they wake, Bernard, Helmholtz and John are brought before Mustapha Mond, the Resident World Controller for Western Europe. Bernard and Helmholtz are told they will be exiled to islands of their choice. Mond explains that exile to the islands is not so much a threat to force freethinkers to reform and rejoin society but a place where they may act as they please, because they will not be an influence on the population. He also divulges that he too once risked banishment to an island because of some scientific experiments that were deemed controversial by the state, giving insight into his sympathetic tone. Helmholtz chooses the Falkland Islands, because of their terrible weather, so he could write well, but Bernard simply doesn't want to leave and struggles with the World Controller and is thrown out of the office. After Bernard and Helmholtz have left, Mustapha and John engage in a philosophical argument on the morals behind the godless society and then John is told the "experiment" will continue and he will not be sent to an island.
In the final chapter, John isolates himself from society in a lighthouse outside London where he finds his hermit life interrupted from mourning his mother by the more bitter memories of civilization. To atone, John brutally whips himself in the open, a ritual the Indians in his own village had said he was not capable of. His self-flagellation, caught on film and shown publicly, destroys his hermit life. Hundreds of gawking sightseers, intrigued by John's violent behavior, fly out to watch the savage in person. Even Lenina comes to watch, crying a tear John does not see. The sight of the woman whom he both adores and blames is too much for him; John attacks and whips her. This sight of genuine, unbridled emotion drives the crowd wild with excitement, and—handling it as they are conditioned to—they turn on each other, in a frenzy of beating and chanting that devolves into a mass orgy of soma and sex. In the morning, John, hopeless, alone, horrified by his drug use, and the orgy he participated in that countered his beliefs, makes one last attempt to escape civilization and atone. When thousands of gawking sightseers arrive that morning, frenzied at the prospect of seeing the savage perform again, they find John dead, hanging by the neck.
Characters
In order of appearance
* Thomas "Tomakin" Foster, Alpha, Director of Hatcheries and Conditioning (D.H.C.) for London; later revealed to be the father of John the Savage.
* Henry Foster, Alpha, Administrator at the Hatchery and Lenina's current partner.
* Lenina Crowne, Beta, Vaccination-worker at the Hatchery; loved by John the Savage.
* Mustapha Mond, Alpha-Plus, World Controller for Western Europe (nine other controllers exist, presumably for different sections of the world).
* Assistant Director of Predestination.
* Bernard Marx, Alpha-Plus but anomalously small, psychologist (specializing in hypnopædia) and the false protagonist of the story. He dates Lenina for a short period of time.
* Fanny Crowne, Beta, embryo worker; a friend, but not a relation, of Lenina.
* Benito Hoover, Alpha, friend of Lenina; disliked by Bernard.
* Helmholtz Watson, Alpha-Plus, lecturer at the College of Emotional Engineering (Department of Writing), friend and confidant of Bernard Marx and John the Savage.
At the Solidarity Service
* Morgana Rothschild, Herbert Bakunin, Fifi Bradlaugh, Jim Bokanovsky, Clara Deterding, Joanna Diesel, Sarojini Engels, and "that great lout" Tom Kawaguchi.
* Miss Keate, headmistress of the high-tech glass and concrete Eton College.
* Arch-Community Songster, a quasi-religious figure based in Canterbury.
* Primo Mellon, a reporter for the upper-caste news-sheet Hourly Radio, who attempts to interview John the Savage and gets assaulted for his troubles.
* Darwin Bonaparte, a press photographer who brings worldwide attention to John's mother.
Of Malpais
* John the Savage ("Mr. Savage"), son of Linda and Thomas (Tomakin/The Director), an outcast in both primitive and modern society. While he does not appear until partway through the story, he becomes the protagonist shortly after his introduction. He commits suicide in the end.
* Linda, a Beta-Minus. John the Savage's mother, and Thomas's (Tomakin/The Director) long lost lover. She is from England and was pregnant with John when she got lost from Thomas in a trip to New Mexico. She is disliked by both savage people because of her "civilized" behaviour, and by civilized people because she is fat and looks old.
* Popé, a native of Malpais. Although he reinforces the behaviour that causes hatred for Linda in Malpais by sleeping with her and bringing her Mezcal, he still holds the traditional beliefs of his tribe. John also attempts to kill him, in his early years.
Background figures
These are fictional and factual characters who lived before the events in this book, but are of note in the novel:
* Henry Ford, who has become a messianic figure to The World State. "Our Ford" is used in place of "Our Lord", as a credit to popularizing the use of the assembly line.
* Sigmund Freud, "Our Freud" is sometimes said in place of "Our Ford" due to the link between Freud's psychoanalysis and the conditioning of humans, and Freud's popularization of the idea that sexual activity is essential to human happiness and need not be open to procreation. It is also strongly implied that citizens of the World State believe Freud and Ford to be the same person.
* H. G. Wells, "Dr. Wells", British writer and utopian socialist, whose book Men Like Gods was an incentive for Brave New World. "All's well that ends Wells" wrote Huxley in his letters, criticizing Wells for anthropological assumptions Huxley found unrealistic.
* Ivan Petrovich Pavlov, whose conditioning techniques are used to train infants.
* William Shakespeare, whose banned works are quoted throughout the novel by John, "the Savage". The plays quoted include Macbeth, The Tempest, Romeo and Juliet, Hamlet, King Lear, Troilus and Cressida, Measure for Measure and Othello. Mustapha Mond also knows them because he, as a World Controller, has access to a selection of books from throughout history, such as a Bible.
* Thomas Malthus, whose name is used to describe the contraceptive techniques (Malthusian belt) practiced by women of the World State.
* Reuben Rabinovitch, the character in whom the effects of sleep-learning, hypnopædia, are first noted.
Sources of names and references
The limited number of names that the World State assigned to its bottle-grown citizens can be traced to political and cultural figures who contributed to the bureaucratic, economic, and technological systems of Huxley's age, and presumably those systems in Brave New World:
* Bernard Marx, from George Bernard Shaw (or possibly Bernard of Clairvaux or possibly Claude Bernard) and Karl Marx.
* Lenina Crowne, from Vladimir Lenin, the Bolshevik leader during the Russian Revolution.
* Fanny Crowne, from Fanny Kaplan, famous for an unsuccessful attempt to assassinate Lenin. Ironically, in the novel, Lenina and Fanny are friends.
* Polly Trotsky, from Leon Trotsky, the Russian revolutionary leader.
* Benito Hoover, from Benito Mussolini, dictator of Italy; and Herbert Hoover, then President of the United States.
* Helmholtz Watson, from the German physician and physicist Hermann von Helmholtz and the American behaviorist John B. Watson.
* Darwin Bonaparte, from Napoleon Bonaparte, the leader of the First French Empire, and Charles Darwin, author of The Origin of Species.
* Herbert Bakunin, from Herbert Spencer, the English philosopher and Social Darwinist, and Mikhail Bakunin, a Russian philosopher and anarchist.
* Mustapha Mond, from Mustapha Kemal Atatürk, founder of Turkey after World War I, who pulled his country into modernisation and official secularism; and Sir Alfred Mond, an industrialist and founder of the Imperial Chemical Industries conglomerate.
* Primo Mellon, from Miguel Primo de Rivera, prime minister and dictator of Spain (1923–1930), and Andrew Mellon, an American banker.
* Sarojini Engels, from Friedrich Engels, co-author of The Communist Manifesto along with Karl Marx: and Sarojini Naidu, an Indian politician.
* Morgana Rothschild, from J P Morgan, US banking tycoon, and the Rothschild family, famous for its European banking operations.
* Fifi Bradlaugh, from the British political activist and atheist Charles Bradlaugh.
* Joanna Diesel, from Rudolf Diesel, the German engineer who invented the diesel engine.
* Clara Deterding, from Henri Deterding, one of the founders of the Royal Dutch Petroleum Company.
* Tom Kawaguchi, from the Japanese Buddhist monk Ekai Kawaguchi, the first recorded Japanese traveler to Tibet and Nepal.
* Jean-Jacques Habibullah, from the French political philosopher Jean-Jacques Rousseau and Habibullah Khan, who served as Emir of Afghanistan in the early 20th century.
* Miss Keate, the Eton headmistress, from nineteenth-century headmaster John Keate.
* Arch-Community Songster of Canterbury, a parody of the Archbishop of Canterbury and the Anglican Church's decision in August 1930 to approve limited use of contraception.
* Popé, from Popé, the Native American rebel who was blamed for the conflict now known as the Pueblo Revolt.
* John the Savage, after the term "noble savage" originally used in the verse drama The Conquest of Granada by John Dryden, and later erroneously associated with Rousseau.
Fordism and society
The World State is built upon the principles of Henry Ford's assembly line—mass production, homogeneity, predictability, and consumption of disposable consumer goods. At the same time as the World State lacks any supernatural-based religions, Ford himself is revered as a deity, and characters celebrate Ford Day and swear oaths by his name (e.g., "By Ford!"). In this sense, some fragments of traditional religion are present, such as Christian crosses, which had their tops cut off in order to be changed to a "T". The World State calendar numbers years in the "AF" era—"After Ford"—with year 1 AF being equivalent to 1908 AD, the year in which Ford's first Model T rolled off his assembly line. The novel's Gregorian calendar year is AD 2540, but it is referred to in the book as AF 632.
From birth, members of every class are indoctrinated by recorded voices repeating slogans while they sleep (called "hypnopædia" in the book) to believe that their own class is best for them. Any residual unhappiness is resolved by an antidepressant and hallucinogenic drug called soma (named for an intoxicating drink in ancient India) distributed by the Arch-Community Songster of Canterbury, a secularised version of the Christian sacrament of Communion ("The Body of Christ").
The biological techniques used to control the populace in Brave New World do not include genetic engineering; Huxley wrote the book before the structure of DNA was known. However, Gregor Mendel's work with inheritance patterns in peas had been re-discovered in 1900 and the eugenics movement, based on artificial selection, was well established. Huxley's family included a number of prominent biologists including Thomas Huxley, half-brother and Nobel Laureate Andrew Huxley, and brother Julian Huxley who was a biologist and involved in the eugenics movement. Nonetheless, Huxley emphasizes conditioning over breeding (see nature versus nurture); as science writer Matt Ridley put it, Brave New World describes an "environmental not a genetic hell". Human embryos and fetuses are conditioned via a carefully designed regimen of chemical (such as exposure to hormones and toxins), thermal (exposure to intense heat or cold, as one's future career would dictate), and other environmental stimuli, although there is an element of selective breeding as well.
Ban, accusation of plagiarism
Brave New World has been banned and challenged at various times. In 1932, the book was banned in Ireland for its language, being anti-family and anti-religion. The American Library Association ranks Brave New World as #52 on their list of most challenged books. In 1980, it was removed from classrooms in Miller, Missouri among other challenges. In 1993, an attempt was made to remove the novel from a California school's required reading list because it "centered around negative activity".
In 1982, Polish author Antoni Smuszkiewicz in his book Zaczarowana gra presented accusations of plagiarism against Huxley. Smuszkiewicz presented similarities between Brave New World and two science fiction novels written by Polish author Mieczysław Smolarski, namely Miasto światłości (The City of the Sun, 1924) and Podróż poślubna pana Hamiltona (The Honeymoon Trip of Mr. Hamilton, 1928).
Comparisons with George Orwell's Nineteen Eighty-Four
Social critic Neil Postman contrasts the worlds of Nineteen Eighty-Four and Brave New World in the foreword of his 1985 book Amusing Ourselves to Death. He writes:
What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny "failed to take into account man's almost infinite appetite for distractions." In 1984, Orwell added, people are controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure. In short, Orwell feared that what we fear will ruin us. Huxley feared that our desire will ruin us.
Journalist Christopher Hitchens, who has himself published several articles on Huxley and a book on Orwell, notes the difference between the two texts in the introduction to his 1999 article "Why Americans Are Not Taught History":
We dwell in a present-tense culture that somehow, significantly, decided to employ the telling expression "You're history" as a choice reprobation or insult, and thus elected to speak forgotten volumes about itself. By that standard, the forbidding dystopia of George Orwell's Nineteen Eighty-Four already belongs, both as a text and as a date, with Ur and Mycenae, while the hedonist nihilism of Huxley still beckons toward a painless, amusement-sodden, and stress-free consensus. Orwell's was a house of horrors. He seemed to strain credulity because he posited a regime that would go to any lengths to own and possess history, to rewrite and construct it, and to inculcate it by means of coercion. Whereas Huxley ... rightly foresaw that any such regime could break but could not bend. In 1988, four years after 1984, the Soviet Union scrapped its official history curriculum and announced that a newly authorized version was somewhere in the works. This was the precise moment when the regime conceded its own extinction. For true blissed-out and vacant servitude, though, you need an otherwise sophisticated society where no serious history is taught.
Brave New World Revisited
1st UK edition
Brave New World Revisited (Harper & Row (US) 1958, Chatto & Windus (UK) 1959), written by Huxley almost thirty years after Brave New World, was a non-fiction work in which Huxley considered whether the world had moved toward or away from his vision of the future from the 1930s. He believed when he wrote the original novel that it was a reasonable guess as to where the world might go in the future. In Brave New World Revisited, he concluded that the world was becoming like Brave New World much faster than he originally thought.
Huxley analysed the causes of this, such as overpopulation as well as all the means by which populations can be controlled. He was particularly interested in the effects of drugs and subliminal suggestion. Brave New World Revisited is different in tone because of Huxley's evolving thought, as well as his conversion to Hindu Vedanta in the interim between the two books.
The last chapter of the book aims to propose actions which could be taken in order to prevent a democracy from turning into the totalitarian world described in Brave New World. In Huxley's last novel, Island, he again expounds similar ideas to describe a utopian nation, which is generally known as a counterpart to his most famous work.
Related works
* The Scientific Outlook by philosopher Bertrand Russell. When Brave New World was released, Russell thought that Huxley's book was based on his book The Scientific Outlook that had been released the previous year. Russell contacted his own publisher and asked whether or not he should do something about this apparent plagiarism. His publisher advised him not to, and Russell followed this advice.
* The 1921 novel Men Like Gods by H.G. Wells. A utopian novel that was a source of inspiration for Huxley's dystopian Brave New World.
* In Peter F. Hamilton's Commonwealth Saga, an isolated planet practicing genetic eugenics to form a perfect society is called 'Huxleys Haven'
* The 1985 book Amusing Ourselves to Death: Public Discourse in the Age of Show Business by Neil Postman alludes to how television is goading modern Western culture to be like what we see in Brave New World, where people are not so much denied human rights like free speech, but are rather conditioned not to care.
* Kurt Vonnegut said that in writing Player Piano (1952) he "cheerfully ripped off the plot of Brave New World, whose plot had been cheerfully ripped off from Yevgeny Zamyatin's We."
* The Iron Maiden song by the same name on their album Brave New World whose cover art depicts a futuristic London described by Huxley.
* "Slave New World," a song by Brazilian band Sepultura from their album Chaos A.D.
* Brazilian rock singer Pitty's debut album, released in 2003, is called Admirável Chip Novo (Brave New Chip).
* Brave New World is the title song on the third album by the Steve Miller Band.
* The Motörhead album Hammered includes a song named Brave New World.
* Richard Ashcroft's first solo album Alone with Everybody includes a song named Brave New World.
* Demolition Man, a film starring Sylvester Stallone, Wesley Snipes and Sandra Bullock, is set in a not-too-distant future utopian society based on a Brave New World. Sandra Bullock's character is even named Lenina Huxley, referencing the author and character from the book. (1997)
* Reagan Youth had a song named "Brave New World".
* The Proletariat had an LP entitled "Soma Holiday."
* Greenwheel changed their name from "Hindsight" to "Soma Holiday," before settling on their current name. Their debut album (as Greenwheel) was entitled "Soma Holiday."
* Scottish techno record label Soma Quality Recordings was named after the drug Soma featured in a Brave New World
* On their album Here, Here, and Here, Meg & Dia have a track titled "Hug Me", a song written by Dia inspired by "Brave New World."
* The song "Soma Holiday" by Gods of Luxury is based on the novel and includes several quotes from the novel in its lyrics.
* The lyrics for Marilyn Manson's song "Ka-boom Ka-boom" from The Golden Age of Grotesque play on the title and idea of this book; in them, Manson suggests that society is a "depraved new world."
* Sam Endicott of The Bravery based the song I Have Seen The Future on Brave New World, as he said in an interview.
* The song "Soma" by The Strokes is loosely based on the novel. Producer and DJ deadmau5 also released a song called "Soma."
Adaptations
* Brave New World (radio broadcast) CBS Radio Workshop (27 January and 3 February 1956)
* Brave New World (film) (1980)
* Brave New World (film) (1998)
* Brave New World (film) (scheduled 2011) Ridley Scott, Leonardo DiCaprio collaborating
* Brave New World (stage adaptation) Brendon Burns, Solent Peoples Theatre 2003
* Schöne Neue Welt (rock musical) Roland Meier/Stefan Wurz, Kulturhaus Osterfeld Pforzheim, Germany, 1994
* Schöne Neue Welt (musical) GRIPS Theater Berlin, Germany, 2006
* Brave New World a song and album of Iron Maiden
* Brave New World Catalogue Number: SAFE 45 1982 (single) from UK vocalist Toyah WIllcox
In 1999, the Modern Library ranked Brave New World fifth on its list of the 100 best English-language novels of the 20th century.
Title
Brave New World's ironic title derives from Miranda's speech in Shakespeare's The Tempest, Act V, Scene I:
O wonder!
How many goodly creatures are there here! How beauteous mankind is! O brave new world! That has such people in it!
This line is word-by-word quoted in the novel by John the Savage, when he first sees Lenina.
The expression "brave new world" also appears in Émile Zola's Germinal (1885):
He laughed at his earlier idealism, his schoolboy vision of a brave new world in which justice would reign and men would be brothers.
and in Rudyard Kipling's 1919 poem The Gods of the Copybook Headings:
And that after this is accomplished, and the brave new world begins
When all men are paid for existing and no man must pay for his sins...
Translations of the novel into other languages often allude to similar expressions used in domestic works of literature in an attempt to capture the same irony: the French edition of the work is entitled Le Meilleur des mondes (The Best of All Worlds), an allusion to an expression used by the philosopher Gottfried Leibniz and satirized in Candide, Ou l'Optimisme by Voltaire (1759). The German title of the book is Schöne Neue Welt (Beautiful New World). First the word "brave" was translated to "Tapfer", which is the correct modern translation of "brave." Translators later recognized that, at Shakespeare's time, "brave" meant "beautiful" or "good looking".
Background
Huxley wrote Brave New World in 1931 while he was living in Guatemala and El Salvador (a British writer, he moved to California in 1937). By this time, Huxley had already established himself as a writer and social satirist. He was a contributor to Vanity Fair and Vogue magazines, had published a collection of his poetry (The Burning Wheel, 1916) and four successful satirical novels: Crome Yellow (1921), Antic Hay (1923), Those Barren Leaves (1925) and Point Counter Point (1928). Brave New World was Huxley's fifth novel and first dystopian work.
Brave New World was inspired by the H. G. Wells' utopian novel Men Like Gods. Wells' optimistic vision of the future gave Huxley the idea to begin writing a parody of the novel, which became Brave New World. Contrary to the most popular optimist utopian novels of the time, Huxley sought to provide a frightening vision of the future. Huxley referred to Brave New World as a "negative utopia" (see dystopia), somewhat influenced by Wells' own The Sleeper Awakes and the works of D. H. Lawrence.
George Orwell believed that Brave New World "must be partly derived from" We by Yevgeny Zamyatin. However, in a 1962 letter, Huxley says that he wrote Brave New World long before he had heard of We. According to We translator Natasha Randall, Orwell believed that Huxley was lying.
Huxley visited the newly opened and technologically advanced Brunner and Mond plant, part of Imperial Chemical Industries, or ICI, Billingham, and gives a fine and detailed account of the processes he saw. The introduction to the most recent print[vague] of Brave New World states that Huxley was inspired to write the classic novel by this Billingham visit.
Although the novel is set in the future, it contains contemporary issues of the early 20th century. The Industrial Revolution had transformed the world. Mass production had made cars, telephones, and radios relatively cheap and widely available throughout the developed world. The political, cultural, economic and sociological upheavals of the then-recent Russian Revolution of 1917 and the First World War (1914–1918) were resonating throughout the world as a whole and the individual lives of most people. Accordingly, many of the novel's characters named after widely-recognized influential people of the time, for example, Polly Trotsky, Benito Hoover, Lenina and Fanny Crowne, Mustapha Mond, Helmholtz Watson, and Bernard Marx.
Huxley was able to use the setting and characters from his science fiction novel to express widely held opinions, particularly the fear of losing individual identity in the fast-paced world of the future. An early trip to the United States gave Brave New World much of its character. Not only was Huxley outraged by the culture of youth, commercial cheeriness, sexual promiscuity and the inward-looking nature of many Americans; he had also found a book by Henry Ford on the boat to America. There was a fear of Americanization in Europe, so to see America firsthand, as well as read the ideas and plans of one of its foremost citizens, spurred Huxley to write Brave New World with America in mind. The "feelies" are his response to the "talkie" motion pictures, and the sex-hormone chewing gum is parody of the ubiquitous chewing gum, which was something of a symbol of America at that time. In an article in the 4 May 1935 issue of the Illustrated London News, G. K. Chesterton explained that Huxley was revolting against the "Age of Utopias" — a time, mostly before the First World War, inspired by what H. G. Wells and George Bernard Shaw were writing about socialism and a World State.
After the Age of Utopias came what we may call the American Age, lasting as long as the Boom. Men like Ford or Mond seemed to many to have solved the social riddle and made capitalism the common good. But it was not native to us; it went with a buoyant, not to say blatant optimism, which is not our negligent or negative optimism. Much more than Victorian righteousness, or even Victorian self-righteousness, that optimism has driven people into pessimism. For the Slump brought even more disillusionment than the War. A new bitterness, and a new bewilderment, ran through all social life, and was reflected in all literature and art. It was contemptuous, not only of the old Capitalism, but of the old Socialism. Brave New World is more of a revolt against Utopia than against Victoria.
For Brave New World, Huxley received nearly universal criticism from contemporary critics, although his work was later embraced. Even the few sympathetic critics tended to temper their praises with disparaging remarks.
Synopsis
edit] The Introduction (Chapters 1–6)
The novel opens in London in the "year of our Ford 632" (AD 2540 in the Gregorian Calendar). The vast majority of the population is unified under The World State, an eternally peaceful, stable global society in which goods and resources are plentiful (because the population is permanently limited to no more than two billion people) and everyone is happy. Natural reproduction has been done away with and children are created, 'decanted' and raised in Hatcheries and Conditioning Centres, where they are divided into five castes (which are further split into 'Plus' and 'Minus' members) and designed to fulfill predetermined positions within the social and economic strata of the World State. Foetuses chosen to become members of the highest caste, 'Alpha', are allowed to develop naturally while maturing to term in "decanting bottles", while foetuses chosen to become members of the lower castes ('Beta', 'Gamma', 'Delta', 'Epsilon') are subjected to in situ chemical interference to cause arrested development in intelligence or physical growth. Each 'Alpha' or 'Beta' is the product of one unique fertilized egg developing into one unique fetus. Members of lower castes are not unique but are instead created using the Bokanovsky process which enables a single egg to spawn (at the point of the story being told) up to 96 children and one ovary to produce thousands of children. People of these caste make up the majority of human society, and the production of such specialized children bolsters the efficiency and harmony of society, since these people are deliberately limited in their cognitive and physical abilities, as well as the scope of their ambitions and the complexity of their desires, thus rendering them easier to motivate, manipulate and control. All children are educated via the hypnopaedic process, which simultaneously provides each child with fact-based education and caste-appropriate subconscious messages to mold the child's life-long self-image, class conscientious, social outlook, habits, tastes, morals, ambitions and prejudices, and other values and ideals chosen by the leaders of the World State and their predetermined plans for producing future adult generations.
To maintain the World State's Command Economy for the indefinite future, all citizens are conditioned from birth to value consumption with such platitudes as "ending is better than mending," i.e., buy a new one instead of fixing the old one, because constant consumption, and near-universal employment to meet society's material demands, is the bedrock of economic and social stability for the World State. Beyond providing social engagement and distraction in the material realm of work or play, the need for transcendence, solitude and spiritual communion is addressed with the ubiquitous availability and universally-endorsed consumption of the drug soma. Soma is an allusion to a mythical drink of the same name consumed by ancient Indo-Aryans. In the book, soma is a hallucinogen that takes users on enjoyable, hangover-free "holidays", developed by the World State to provide such inner-directed personal experiences within the socially-managed context of State-run 'religious' organizations, social clubs, and the hypnopaedically-inculcated affinity to the State-produced drug as a self-medicating comfort mechanism in the face of stress or discomfort, thereby eliminating the need for religion or other personal allegiances outside or beyond the World State.
Recreational sex is an integral part of society. According to The World State, sex is a social activity, rather than a means of reproduction, and sexual activity is encouraged from early childhood. The few women who can reproduce are conditioned to use birth control (a "Malthusian belt", resembling a cartridge belt holding "the regulation supply of contraceptives", is a popular fashion accessory). The maxim "everyone belongs to everyone else" is repeated often, and the idea of a "family" is considered pornographic; sexual competition and emotional, romantic relationships are rendered obsolete because they are no longer needed. Marriage, natural birth, parenthood, and pregnancy are considered too obscene to be mentioned in casual conversation. Thus, society has developed a new idea of reproductive comprehension.
Spending time alone is considered an outrageous waste of time and money. Admitting to wanting to be an individual is shocking, horrifying, and embarrassing. This is why John, a character in the book, is later afforded celebrity-like status. Conditioning trains people to consume and never to enjoy being alone, so by spending an afternoon not playing "Obstacle Golf," or not in bed with a friend, one is forfeiting acceptance.
In The World State, people typically die at age 60 having maintained good health and youthfulness their whole life. Death isn't feared; anyone reflecting upon it is reassured by the knowledge that everyone is happy, and that society goes on. Since no one has family, they have no ties to mourn.
The conditioning system eliminates the need for professional competitiveness; people are literally bred to do their jobs and cannot desire another. There is no competition within castes; each caste member receives the same food, housing, and soma rationing as every other member of that caste. There is no desire to change one's caste, largely because a person's sleep-conditioning teaches that his or her caste is superior to the other four. To grow closer with members of the same class, citizens participate in mock religious services called Solidarity Services, in which twelve people consume large quantities of soma and sing hymns. The ritual progresses through group hypnosis and climaxes in an orgy. In geographic areas nonconducive to easy living and consumption, securely contained groups of "savages" are left to their own devices.
In its first chapters, the novel describes life in The World State as wonderful and introduces Lenina and Bernard. Lenina is a socially accepted woman, normal for her society, while Bernard, a psychologist, is an outcast. Although an Alpha Plus, Bernard is shorter in stature than the average of his caste—a quality shared by the lower castes, which gives him an inferiority complex. His work with sleep-teaching has led him to realize that what others believe to be their own deeply held beliefs are merely phrases repeated to children while they sleep. Still, he recognizes the necessity of such programming as the reason why his society meets the emotional needs of its citizens. Courting disaster, he is vocal about being different, once stating he dislikes soma because he'd "rather be himself". Bernard's differences fuel rumors that he was accidentally administered alcohol while incubated, a method used to keep Epsilons short.
Lenina, a woman who seldom questions her own motivations, is reprimanded by her friends because she is not promiscuous enough. However, she is still highly content in her role as a woman. Both fascinated and disturbed by Bernard, she responds to Bernard's advances to dispel her reputation for being too selective and monogamous.
Bernard's only friend is Helmholtz Watson, an Alpha Plus lecturer at the College of Emotional Engineering (Department of Writing). The friendship is based on their similar experiences as misfits, but unlike Bernard, Watson's sense of loneliness stems from being too gifted, too handsome, and too physically strong. Helmholtz is drawn to Bernard as a confidant: he can talk to Bernard about his desire to write poetry.
The Reservation and the Savage (Chapters 7–9)
Bernard, desperately wanting Lenina's attention, tries to impress her by taking her on holiday to a Savage Reservation. The reservation, located in New Mexico, consists of a community named Malpais (which in Spanish means "bad country", one of many Spanish puns throughout the novel). From afar, Lenina thinks it will be exciting. In person, she finds the aged, toothless natives who mend their clothes rather than throw them away repugnant, and the situation is made worse when she discovers that she has left her soma tablets at the resort hotel. Bernard is fascinated, although he realizes his seduction plans have failed.
In typical tourist fashion, Bernard and Lenina watch what at first appears to be a quaint native ceremony. The village folk, whose culture resembles that of the Pueblo peoples such as the Hopi and Zuni, begin by singing, but the ritual quickly becomes a passion play where a village boy is whipped to unconsciousness.
Soon after, the couple encounters Linda, a woman formerly of The World State who has been living in Malpais since she came on a trip and became separated from her group and her date, whom she refers to as "Tomakin" but who is revealed to be Bernard's boss the DHC at the conditioning center, Thomas. She became pregnant because she mistimed her "Malthusian Drill" and there were no facilities for an abortion. Linda gave birth to a son, John (later referred to as John the Savage) who is now eighteen.
Through conversations with Linda and John, we learn that their life has been hard. For eighteen years, they have been treated as outsiders; the natives hate Linda for sleeping with all the men of the village, as she was conditioned to do, and John was mistreated and excluded for his mother's actions, not to mention the role of racism. John's one joy was that his mother had taught him to read, although he only had two books: a scientific manual from his mother's job, which he called a "beastly, beastly book" and refused to read, and a collection of the works of Shakespeare (a work banned in The World State). John has been denied the religious rituals of the village, although he has watched them and even has had some of his own religious experiences in the desert.
Old, weathered and tired, Linda wants to return to her familiar world in London; she is tired of a life without soma. John wants to see the "brave new world" his mother has told him so much about. Bernard wants to take them back as revenge against Thomas, who had just reassigned Bernard to Iceland as punishment for his antisocial beliefs. Bernard arranges permission for Linda and John to leave the reservation.
The Savage visits the World State (Chapters 10–18)
Upon his return to London, Bernard is confronted by Thomas Tomakin, the Director of the Hatchery and Conditioning Centre who, in front of an audience of higher-caste Centre workers, denounces Bernard for his antisocial behaviour. Bernard, thinking that for the first time in his life he has the upper hand, defends himself by presenting the Director with his long lost lover and unknown son, Linda and John. The humiliated Director resigns in shame and is himself sent to Iceland.
Spared from reassignment, Bernard makes John the toast of London. Pursued by the highest members of society, able to bed any woman he fancies, Bernard revels in attention he once scorned. Everyone who is anyone will endure Bernard to dine with the interesting, different, beautiful John. Even Lenina grows fond of the savage, while the savage falls in love with her. Bernard, intoxicated with attention, falls in love with himself. In short, John brings tremendous happiness upon the citizens of London.
The victory, however, is short lived. Linda, decrepit, toothless, friendless, goes on a permanent soma holiday while John, appalled by what he perceives to be an empty society, refuses to attend Bernard's parties. Society drops Bernard as swiftly as it had taken him. Bernard turns to the person he'd believed to be his one true friend, only to see Helmholtz fall into a quick, easy camaraderie with John. Bernard is left an outcast yet again as he watches the only two men he ever connected with find more of interest in each other than they ever did in him.
John and Helmholtz's island of peace is brief. John grows frustrated by a society he finds wicked and debased. He is moved by Lenina, but also loathes her sexual advances, which revolt and shame him. He is heartbroken when his mother succumbs to soma and dies in a hospital. John's grief bewilders and revolts the hospital workers, and their lack of reaction to Linda's death prompts John to try to force humanity from the workers by throwing their soma rations out a window. The ensuing riot brings the police, who soma-gas the crowd. Bernard and Helmholtz arrive to help John, but only Helmholtz helps him, while Bernard stands to the side, torn between risking involvement by helping or escaping the scene.
When they wake, Bernard, Helmholtz and John are brought before Mustapha Mond, the Resident World Controller for Western Europe. Bernard and Helmholtz are told they will be exiled to islands of their choice. Mond explains that exile to the islands is not so much a threat to force freethinkers to reform and rejoin society but a place where they may act as they please, because they will not be an influence on the population. He also divulges that he too once risked banishment to an island because of some scientific experiments that were deemed controversial by the state, giving insight into his sympathetic tone. Helmholtz chooses the Falkland Islands, because of their terrible weather, so he could write well, but Bernard simply doesn't want to leave and struggles with the World Controller and is thrown out of the office. After Bernard and Helmholtz have left, Mustapha and John engage in a philosophical argument on the morals behind the godless society and then John is told the "experiment" will continue and he will not be sent to an island.
In the final chapter, John isolates himself from society in a lighthouse outside London where he finds his hermit life interrupted from mourning his mother by the more bitter memories of civilization. To atone, John brutally whips himself in the open, a ritual the Indians in his own village had said he was not capable of. His self-flagellation, caught on film and shown publicly, destroys his hermit life. Hundreds of gawking sightseers, intrigued by John's violent behavior, fly out to watch the savage in person. Even Lenina comes to watch, crying a tear John does not see. The sight of the woman whom he both adores and blames is too much for him; John attacks and whips her. This sight of genuine, unbridled emotion drives the crowd wild with excitement, and—handling it as they are conditioned to—they turn on each other, in a frenzy of beating and chanting that devolves into a mass orgy of soma and sex. In the morning, John, hopeless, alone, horrified by his drug use, and the orgy he participated in that countered his beliefs, makes one last attempt to escape civilization and atone. When thousands of gawking sightseers arrive that morning, frenzied at the prospect of seeing the savage perform again, they find John dead, hanging by the neck.
Characters
In order of appearance
* Thomas "Tomakin" Foster, Alpha, Director of Hatcheries and Conditioning (D.H.C.) for London; later revealed to be the father of John the Savage.
* Henry Foster, Alpha, Administrator at the Hatchery and Lenina's current partner.
* Lenina Crowne, Beta, Vaccination-worker at the Hatchery; loved by John the Savage.
* Mustapha Mond, Alpha-Plus, World Controller for Western Europe (nine other controllers exist, presumably for different sections of the world).
* Assistant Director of Predestination.
* Bernard Marx, Alpha-Plus but anomalously small, psychologist (specializing in hypnopædia) and the false protagonist of the story. He dates Lenina for a short period of time.
* Fanny Crowne, Beta, embryo worker; a friend, but not a relation, of Lenina.
* Benito Hoover, Alpha, friend of Lenina; disliked by Bernard.
* Helmholtz Watson, Alpha-Plus, lecturer at the College of Emotional Engineering (Department of Writing), friend and confidant of Bernard Marx and John the Savage.
At the Solidarity Service
* Morgana Rothschild, Herbert Bakunin, Fifi Bradlaugh, Jim Bokanovsky, Clara Deterding, Joanna Diesel, Sarojini Engels, and "that great lout" Tom Kawaguchi.
* Miss Keate, headmistress of the high-tech glass and concrete Eton College.
* Arch-Community Songster, a quasi-religious figure based in Canterbury.
* Primo Mellon, a reporter for the upper-caste news-sheet Hourly Radio, who attempts to interview John the Savage and gets assaulted for his troubles.
* Darwin Bonaparte, a press photographer who brings worldwide attention to John's mother.
Of Malpais
* John the Savage ("Mr. Savage"), son of Linda and Thomas (Tomakin/The Director), an outcast in both primitive and modern society. While he does not appear until partway through the story, he becomes the protagonist shortly after his introduction. He commits suicide in the end.
* Linda, a Beta-Minus. John the Savage's mother, and Thomas's (Tomakin/The Director) long lost lover. She is from England and was pregnant with John when she got lost from Thomas in a trip to New Mexico. She is disliked by both savage people because of her "civilized" behaviour, and by civilized people because she is fat and looks old.
* Popé, a native of Malpais. Although he reinforces the behaviour that causes hatred for Linda in Malpais by sleeping with her and bringing her Mezcal, he still holds the traditional beliefs of his tribe. John also attempts to kill him, in his early years.
Background figures
These are fictional and factual characters who lived before the events in this book, but are of note in the novel:
* Henry Ford, who has become a messianic figure to The World State. "Our Ford" is used in place of "Our Lord", as a credit to popularizing the use of the assembly line.
* Sigmund Freud, "Our Freud" is sometimes said in place of "Our Ford" due to the link between Freud's psychoanalysis and the conditioning of humans, and Freud's popularization of the idea that sexual activity is essential to human happiness and need not be open to procreation. It is also strongly implied that citizens of the World State believe Freud and Ford to be the same person.
* H. G. Wells, "Dr. Wells", British writer and utopian socialist, whose book Men Like Gods was an incentive for Brave New World. "All's well that ends Wells" wrote Huxley in his letters, criticizing Wells for anthropological assumptions Huxley found unrealistic.
* Ivan Petrovich Pavlov, whose conditioning techniques are used to train infants.
* William Shakespeare, whose banned works are quoted throughout the novel by John, "the Savage". The plays quoted include Macbeth, The Tempest, Romeo and Juliet, Hamlet, King Lear, Troilus and Cressida, Measure for Measure and Othello. Mustapha Mond also knows them because he, as a World Controller, has access to a selection of books from throughout history, such as a Bible.
* Thomas Malthus, whose name is used to describe the contraceptive techniques (Malthusian belt) practiced by women of the World State.
* Reuben Rabinovitch, the character in whom the effects of sleep-learning, hypnopædia, are first noted.
Sources of names and references
The limited number of names that the World State assigned to its bottle-grown citizens can be traced to political and cultural figures who contributed to the bureaucratic, economic, and technological systems of Huxley's age, and presumably those systems in Brave New World:
* Bernard Marx, from George Bernard Shaw (or possibly Bernard of Clairvaux or possibly Claude Bernard) and Karl Marx.
* Lenina Crowne, from Vladimir Lenin, the Bolshevik leader during the Russian Revolution.
* Fanny Crowne, from Fanny Kaplan, famous for an unsuccessful attempt to assassinate Lenin. Ironically, in the novel, Lenina and Fanny are friends.
* Polly Trotsky, from Leon Trotsky, the Russian revolutionary leader.
* Benito Hoover, from Benito Mussolini, dictator of Italy; and Herbert Hoover, then President of the United States.
* Helmholtz Watson, from the German physician and physicist Hermann von Helmholtz and the American behaviorist John B. Watson.
* Darwin Bonaparte, from Napoleon Bonaparte, the leader of the First French Empire, and Charles Darwin, author of The Origin of Species.
* Herbert Bakunin, from Herbert Spencer, the English philosopher and Social Darwinist, and Mikhail Bakunin, a Russian philosopher and anarchist.
* Mustapha Mond, from Mustapha Kemal Atatürk, founder of Turkey after World War I, who pulled his country into modernisation and official secularism; and Sir Alfred Mond, an industrialist and founder of the Imperial Chemical Industries conglomerate.
* Primo Mellon, from Miguel Primo de Rivera, prime minister and dictator of Spain (1923–1930), and Andrew Mellon, an American banker.
* Sarojini Engels, from Friedrich Engels, co-author of The Communist Manifesto along with Karl Marx: and Sarojini Naidu, an Indian politician.
* Morgana Rothschild, from J P Morgan, US banking tycoon, and the Rothschild family, famous for its European banking operations.
* Fifi Bradlaugh, from the British political activist and atheist Charles Bradlaugh.
* Joanna Diesel, from Rudolf Diesel, the German engineer who invented the diesel engine.
* Clara Deterding, from Henri Deterding, one of the founders of the Royal Dutch Petroleum Company.
* Tom Kawaguchi, from the Japanese Buddhist monk Ekai Kawaguchi, the first recorded Japanese traveler to Tibet and Nepal.
* Jean-Jacques Habibullah, from the French political philosopher Jean-Jacques Rousseau and Habibullah Khan, who served as Emir of Afghanistan in the early 20th century.
* Miss Keate, the Eton headmistress, from nineteenth-century headmaster John Keate.
* Arch-Community Songster of Canterbury, a parody of the Archbishop of Canterbury and the Anglican Church's decision in August 1930 to approve limited use of contraception.
* Popé, from Popé, the Native American rebel who was blamed for the conflict now known as the Pueblo Revolt.
* John the Savage, after the term "noble savage" originally used in the verse drama The Conquest of Granada by John Dryden, and later erroneously associated with Rousseau.
Fordism and society
The World State is built upon the principles of Henry Ford's assembly line—mass production, homogeneity, predictability, and consumption of disposable consumer goods. At the same time as the World State lacks any supernatural-based religions, Ford himself is revered as a deity, and characters celebrate Ford Day and swear oaths by his name (e.g., "By Ford!"). In this sense, some fragments of traditional religion are present, such as Christian crosses, which had their tops cut off in order to be changed to a "T". The World State calendar numbers years in the "AF" era—"After Ford"—with year 1 AF being equivalent to 1908 AD, the year in which Ford's first Model T rolled off his assembly line. The novel's Gregorian calendar year is AD 2540, but it is referred to in the book as AF 632.
From birth, members of every class are indoctrinated by recorded voices repeating slogans while they sleep (called "hypnopædia" in the book) to believe that their own class is best for them. Any residual unhappiness is resolved by an antidepressant and hallucinogenic drug called soma (named for an intoxicating drink in ancient India) distributed by the Arch-Community Songster of Canterbury, a secularised version of the Christian sacrament of Communion ("The Body of Christ").
The biological techniques used to control the populace in Brave New World do not include genetic engineering; Huxley wrote the book before the structure of DNA was known. However, Gregor Mendel's work with inheritance patterns in peas had been re-discovered in 1900 and the eugenics movement, based on artificial selection, was well established. Huxley's family included a number of prominent biologists including Thomas Huxley, half-brother and Nobel Laureate Andrew Huxley, and brother Julian Huxley who was a biologist and involved in the eugenics movement. Nonetheless, Huxley emphasizes conditioning over breeding (see nature versus nurture); as science writer Matt Ridley put it, Brave New World describes an "environmental not a genetic hell". Human embryos and fetuses are conditioned via a carefully designed regimen of chemical (such as exposure to hormones and toxins), thermal (exposure to intense heat or cold, as one's future career would dictate), and other environmental stimuli, although there is an element of selective breeding as well.
Ban, accusation of plagiarism
Brave New World has been banned and challenged at various times. In 1932, the book was banned in Ireland for its language, being anti-family and anti-religion. The American Library Association ranks Brave New World as #52 on their list of most challenged books. In 1980, it was removed from classrooms in Miller, Missouri among other challenges. In 1993, an attempt was made to remove the novel from a California school's required reading list because it "centered around negative activity".
In 1982, Polish author Antoni Smuszkiewicz in his book Zaczarowana gra presented accusations of plagiarism against Huxley. Smuszkiewicz presented similarities between Brave New World and two science fiction novels written by Polish author Mieczysław Smolarski, namely Miasto światłości (The City of the Sun, 1924) and Podróż poślubna pana Hamiltona (The Honeymoon Trip of Mr. Hamilton, 1928).
Comparisons with George Orwell's Nineteen Eighty-Four
Social critic Neil Postman contrasts the worlds of Nineteen Eighty-Four and Brave New World in the foreword of his 1985 book Amusing Ourselves to Death. He writes:
What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny "failed to take into account man's almost infinite appetite for distractions." In 1984, Orwell added, people are controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure. In short, Orwell feared that what we fear will ruin us. Huxley feared that our desire will ruin us.
Journalist Christopher Hitchens, who has himself published several articles on Huxley and a book on Orwell, notes the difference between the two texts in the introduction to his 1999 article "Why Americans Are Not Taught History":
We dwell in a present-tense culture that somehow, significantly, decided to employ the telling expression "You're history" as a choice reprobation or insult, and thus elected to speak forgotten volumes about itself. By that standard, the forbidding dystopia of George Orwell's Nineteen Eighty-Four already belongs, both as a text and as a date, with Ur and Mycenae, while the hedonist nihilism of Huxley still beckons toward a painless, amusement-sodden, and stress-free consensus. Orwell's was a house of horrors. He seemed to strain credulity because he posited a regime that would go to any lengths to own and possess history, to rewrite and construct it, and to inculcate it by means of coercion. Whereas Huxley ... rightly foresaw that any such regime could break but could not bend. In 1988, four years after 1984, the Soviet Union scrapped its official history curriculum and announced that a newly authorized version was somewhere in the works. This was the precise moment when the regime conceded its own extinction. For true blissed-out and vacant servitude, though, you need an otherwise sophisticated society where no serious history is taught.
Brave New World Revisited
1st UK edition
Brave New World Revisited (Harper & Row (US) 1958, Chatto & Windus (UK) 1959), written by Huxley almost thirty years after Brave New World, was a non-fiction work in which Huxley considered whether the world had moved toward or away from his vision of the future from the 1930s. He believed when he wrote the original novel that it was a reasonable guess as to where the world might go in the future. In Brave New World Revisited, he concluded that the world was becoming like Brave New World much faster than he originally thought.
Huxley analysed the causes of this, such as overpopulation as well as all the means by which populations can be controlled. He was particularly interested in the effects of drugs and subliminal suggestion. Brave New World Revisited is different in tone because of Huxley's evolving thought, as well as his conversion to Hindu Vedanta in the interim between the two books.
The last chapter of the book aims to propose actions which could be taken in order to prevent a democracy from turning into the totalitarian world described in Brave New World. In Huxley's last novel, Island, he again expounds similar ideas to describe a utopian nation, which is generally known as a counterpart to his most famous work.
Related works
* The Scientific Outlook by philosopher Bertrand Russell. When Brave New World was released, Russell thought that Huxley's book was based on his book The Scientific Outlook that had been released the previous year. Russell contacted his own publisher and asked whether or not he should do something about this apparent plagiarism. His publisher advised him not to, and Russell followed this advice.
* The 1921 novel Men Like Gods by H.G. Wells. A utopian novel that was a source of inspiration for Huxley's dystopian Brave New World.
* In Peter F. Hamilton's Commonwealth Saga, an isolated planet practicing genetic eugenics to form a perfect society is called 'Huxleys Haven'
* The 1985 book Amusing Ourselves to Death: Public Discourse in the Age of Show Business by Neil Postman alludes to how television is goading modern Western culture to be like what we see in Brave New World, where people are not so much denied human rights like free speech, but are rather conditioned not to care.
* Kurt Vonnegut said that in writing Player Piano (1952) he "cheerfully ripped off the plot of Brave New World, whose plot had been cheerfully ripped off from Yevgeny Zamyatin's We."
* The Iron Maiden song by the same name on their album Brave New World whose cover art depicts a futuristic London described by Huxley.
* "Slave New World," a song by Brazilian band Sepultura from their album Chaos A.D.
* Brazilian rock singer Pitty's debut album, released in 2003, is called Admirável Chip Novo (Brave New Chip).
* Brave New World is the title song on the third album by the Steve Miller Band.
* The Motörhead album Hammered includes a song named Brave New World.
* Richard Ashcroft's first solo album Alone with Everybody includes a song named Brave New World.
* Demolition Man, a film starring Sylvester Stallone, Wesley Snipes and Sandra Bullock, is set in a not-too-distant future utopian society based on a Brave New World. Sandra Bullock's character is even named Lenina Huxley, referencing the author and character from the book. (1997)
* Reagan Youth had a song named "Brave New World".
* The Proletariat had an LP entitled "Soma Holiday."
* Greenwheel changed their name from "Hindsight" to "Soma Holiday," before settling on their current name. Their debut album (as Greenwheel) was entitled "Soma Holiday."
* Scottish techno record label Soma Quality Recordings was named after the drug Soma featured in a Brave New World
* On their album Here, Here, and Here, Meg & Dia have a track titled "Hug Me", a song written by Dia inspired by "Brave New World."
* The song "Soma Holiday" by Gods of Luxury is based on the novel and includes several quotes from the novel in its lyrics.
* The lyrics for Marilyn Manson's song "Ka-boom Ka-boom" from The Golden Age of Grotesque play on the title and idea of this book; in them, Manson suggests that society is a "depraved new world."
* Sam Endicott of The Bravery based the song I Have Seen The Future on Brave New World, as he said in an interview.
* The song "Soma" by The Strokes is loosely based on the novel. Producer and DJ deadmau5 also released a song called "Soma."
Adaptations
* Brave New World (radio broadcast) CBS Radio Workshop (27 January and 3 February 1956)
* Brave New World (film) (1980)
* Brave New World (film) (1998)
* Brave New World (film) (scheduled 2011) Ridley Scott, Leonardo DiCaprio collaborating
* Brave New World (stage adaptation) Brendon Burns, Solent Peoples Theatre 2003
* Schöne Neue Welt (rock musical) Roland Meier/Stefan Wurz, Kulturhaus Osterfeld Pforzheim, Germany, 1994
* Schöne Neue Welt (musical) GRIPS Theater Berlin, Germany, 2006
* Brave New World a song and album of Iron Maiden
* Brave New World Catalogue Number: SAFE 45 1982 (single) from UK vocalist Toyah WIllcox
gōng yuán 2035 nián， zǒng bù wèi yú zhī jiā gē de měi guó USR gōng sī kāi fā chū chāo néng jī qì rén chǎn pǐn --NS-5。 suí zhe NS-5 bèi dà liàng qīng xiāo， jī qì rén kāi shǐ chōng dāng qǐ shè huì gè gè lǐng yù de zhòng yào juésè。 jǐng tàn shǐ pǔ nà ( wēi 'ěr · shǐ mì sī shì ) shǐ zhōng liú liàn yǐ wǎng jiǎn dān de shēng huó， ài tīng lǎo gē， xǐ huān lǎo shì de dǎ bàn。 zhuān mén cóng shì jī qì rén xīn lǐ yán jiū de kē xué jiā sū shān ( bù lǐ jí tè · mò yī nà hǎn shì ) xiàng lái chóng shàng luó ji yǔ kē xué， tā jiān xìn zǒng yòu yī tiān jī qì rén huì shèng guò rén lèi。 shēng huó guān niàn nán yuán běi zhé de shǐ pǔ nà hé sū shān què zài diào chá yī zhuāng yí sì NS-5 móu shā rén lèi de 'àn jiàn zhōng bù qī 'ér yù。 suí zhe diào chá de shēn rù， rén men fā jué jī qì rén sì hū yǐ jīng xué huì liǎo zì wǒ sī kǎo， bìng qiě jiě kāi liǎo kòng zhì tā men de mì mǎ， chéng wéi liǎo wán quán dú lì de“ jī qì lèi”。
《 jī xiè gōng dí》 - jù qíng jiǎn jiè
gōng yuán 2035 nián， zǒng bù wèi yú zhī jiā gē de měi guó USR gōng sī kāi fā chū chāo néng jī qì rén chǎn pǐn --NS-5， qí wài xíng kù sì rén lèi， yōng yòu qiáng huà nài jiǔ de tài jīn shǔ wàiqiào， kě zhí xíng gè zhǒng rèn wù。 cóng bǎo mǔ、 chú shī、 kuài dì、 liú gǒu dào guǎn lǐ jiā tíng shōu zhī， jiǎn zhí shì wú suǒ bù néng。 yī shí jiān， jī qì rén de shù liàng chéng 3 bèi qū shì zēngzhǎng， píng jūn měi 5 rén biàn yōng yòu 1 gè jī qì rén。 suí zhe NS-5 bèi dà liàng qīng xiāo， jī qì rén kāi shǐ chōng dāng qǐ shè huì gè gè lǐng yù de zhòng yào juésè。 ér fā míng tā de USR gōng sī yě chéng wéi dì qiú shàng yòu shǐ yǐ lái zuì qiáng dà de jí tuán。
jǐng tàn shǐ pǔ nà ( wēi 'ěr shǐ mì sī WillSmith shì ) shǐ zhōng liú liàn yǐ wǎng jiǎn dān de shēng huó， ài tīng lǎo gē， xǐ huān lǎo shì de dǎ bàn。 tā yàn 'è kē jì hé jī qì rén， què yòu bù dé bù shēng huó zài yóu zhè liǎng zhě zǔ chéng de shì jiè lǐ。 zhuān mén cóng shì jī qì rén xīn lǐ yán jiū de kē xué jiā sū shān ( bù lǐ jí tè mò yī nà hǎn BridgetMoynahan shì ) xiàng lái chóng shàng luó ji yǔ kē xué， tā jiān xìn zǒng yòu yī tiān jī qì rén huì shèng guò rén lèi， bìng huí guò tóu lái bāng zhù rén lèi jìn bù。
shēng huó guān niàn nán yuán běi zhé de shǐ pǔ nà hé sū shān què zài diào chá yī zhuāng yí sì NS-5 móu shā rén lèi de 'àn jiàn zhōng bù qī 'ér yù …… rén lèi zhì zào jī qì rén shí， tōng cháng huì zūn xún suǒ wèi“ jī qì rén sān dà 'ān quán fǎ zé” lái shè jì bìng kòng zhì tā men。 dàn shì， suí zhe diào chá de shēn rù， rén men fā jué jī qì rén sì hū yǐ jīng xué huì liǎo zì wǒ sī kǎo， bìng qiě jiě kāi liǎo kòng zhì tā men de mì mǎ， chéng wéi liǎo wán quán dú lì de“ jī qì lèi”。
rén lèi bì xū kāi shǐ chóngxīn sī kǎo rú hé miàn duì jī qì rén， dàn shì， jī qì rén huò zhě rén lèi zì shēn dū zhí dé xìn lài má？
《 jī xiè gōng dí》 - mù hòu zhì zuò
ào dà lì yà dǎo yǎn 'ài lǐ kè sī bù luó yǎ sī shì yī gè zhì zào huàn xiǎng de tiān cái， tā de《 yí hún dū shì》（ DarkCity） yī zhí shì guǎng shòu hǎo píng de CULT diàn yǐng jīng diǎn zhī zuò， hòu lái de zhòng duō diàn yǐng， shèn zhì bāo kuò《 chǔ mén de shì jiè》（ TrumanShow） hé《 hài kè dì guó》 dū céng shēn shòu qí yǐng xiǎng。 duì yú běn piàn de zhì zuò， tā rèn wéi diàn yǐng de zhòng yào zuò yòng shì ràng dān chún de huàn xiǎng gèng fù zhēn shí xìng。 wèile dá dào zhè gè mùdì， ài lǐ kè sī jí hé liǎo yī gè jì suàn jī tè xiào de quán míng xīng zǔ hé， shí xiàn jī qì rén mó xíng、 chǎng jǐng shè jì hé shù zì xū nǐ xíng xiàng de wán měi jié hé， pāi shè liǎo jìn 1000 gè tè xiào jìng tóu。 quán xīn jī qì rén zào xíng， shì běn piàn xī yǐn guān zhòng de yī gè zhòng yào yuán sù。
yǐngpiān de chuàng zuò guò chéng
diàn yǐng zuì chū de jù běn jiào《 yìng xiàn》（ HARDWIRED）， shì yī gè jīng diǎn yàng shì de xuán yí móu shā gù shì， qí zhù zhǐ fēi cháng tiē jìn 'ā xī mò fū de“ jī qì rén sān dà dìng lǜ”， kě yǐ shuō， gù shì de fā zhǎn mài luò jiù shì gēn jù dìng lǜ de luó ji tuī yǎn lái shè jì qíng jié de。
dí sī ní dǎo yǎn bù lāi 'ēn xīn gé（ BryanSinger） duì zhè fèn zuì chū de《 yìng xiàn》 shǒu gǎo jìn xíng liǎo xiū gǎi， dāng shǒu gǎo zuì zhōng bèi sòng dào 20 shì jì fú kè sī gōng sī yǐ hòu， dǎo yǎn yà lì kè sī pǔ luó yà sī（ AlexProyas） hé zuò jiā jié fū wēn tǎ（ JeffVintar） gòng tóng nǔ lì， jiāng tā xiū gǎi wéi yī gè shì hé dà zhì zuò de gèng jiā hóng dà kāi fàng de diàn yǐng jù běn。 chèn zhe fú kè sī gōng sī zài zhēng qǔ 'ā xī mò fū（ IsaacAsimov） xiǎo shuō bǎn quán de shí hòu， wēn tǎ huā liǎo dà yuē liǎng nián zuǒ yòu de shí jiān， jiāng diàn yǐng jù běn biān xiě wéi lèi sì 'ā xī mò fū jī qì rén xiǎo shuō xì liè zhōng de yī gè gù shì。 gù shì bāo hán liǎo nǚ zhùjué jī qì rén xīn lǐ xué jiā sū shān kǎ 'ěr wén bó shì hé jī qì rén sān dà dìng lǜ， zhè liǎng gè yuán sù shì 'ā xī mò fū《 wǒ， jī qì rén》 xì liè kē huàn xiǎo shuō lǐ miàn yī zhí cún zài guàn chuān shǐ zhōng de。 hòu lái， xī lā lǐ sài cí（ HillarySeitz） yòu wéi jù běn dòng liǎo shǒu shù。 zuì hòu， zài wēi 'ěr shǐ mì sī jiā méng yǐngpiān hòu， ā jī wǎ gāo sī màn（ AkivaGoldsman） yòu wéi liǎo tā de juésè zài cì duì jù běn jìn xíng liǎo jiǎn cái， xíng chéng liǎo xiàn zài yǐngpiān zuì zhōng suǒ chéng xiàn de miàn mào。 jìn guǎn huā liǎo zhè me cháng de shí jiān hé rú cǐ duō rén de xīn láo， dàn què shí shì zuì chū de《 yìng xiàn》 zuò zhě gāo fū zàn 'ēn lǐ（ GeoffZanell） wéi běn piàn de gù shì tí gōng liǎo zhù tí。
ā xī mò fū jí zuò pǐn
ài sà kè ā xī mò fū， měi jí 'é yì yóu tài rén， běn shì jì zuì wěi dà de kē huàn xiǎo shuō jiā。 tóng yàng yě shì wén xué shuò shì、 huà xué bó shì hé fēi cháng yōu xiù de kē pǔ xiǎo shuō jiā。 yuān bó de xué shí hé bù xiè de nǔ lì shǐ 'ā xī mò fū zuò pǐn de shù liàng fēi cháng jù dà， bìng shǐ tā huò dé liǎo yī xì liè de róng yù hé bāo jiǎng。 zài shì shì qián bù jiǔ， tā céng zì shù chū bǎn guò 467 bù zhù zuò， dàn yán jiū tā de zuò pǐn de zhuān jiā chēng， tā zhì shǎo chū bǎn guò 480 bù zhù zuò。 ér qiě tǐ cái guǎng fàn， yòu yán sù de lì shǐ hé kē xué lùn zhù， yě yòu qīng sōng de xì jù、 yōu mò xiǎo shuō。
《 wǒ， jī qì rén》 shì 'ā xī mò fū zhū duō kē huàn zhù zuò zhōng zuì yòu míng de xì liè zhī yī。 lìng wài yī gè zhù míng de shì《 jī dì》 xì liè。 zhè liǎng gè kuài zhì rén kǒu de xì liè hé《 qí tā jī qì rén》 děng děng gù shì， dū gè zì dú lì chéng piān， dàn dāng guàn chuàn qǐ lái， què yòu shì yī bù fǔ yǎng liǎng wàn nián de cháng piān shǐ shī。 ā xī mò fū de kē huàn shì jiè guǎng kuò jù dà， tōng guò miáo huì yín hé dì guó de xīng wáng shǐ， lái tǎo lùn rén xìng yǔ zhèng zhì、 jīng jì、 jūn shì děng wén míng yào sù chǎn shēng de hù dòng yǐng xiǎng。 zhè zhǒng hóng guān shì yě shǐ tā de zuò pǐn chōng mǎn duì rén lèi wèi lái de guān huái hé sī kǎo， kě yǐ shuō yǐng xiǎng hé gǎi biàn liǎo hěn duō dú zhě duì shì jiè de kàn fǎ。
běn piàn piàn míng《 wǒ， jī qì rén》， duì yú kē huàn xiǎo shuō dú zhě kě yǐ shuō shì rú léi guàn 'ěr。 xì liè xiǎo shuō yóu shí jǐ gè dú lì chéng piān de gù shì fēn bié zǔ chéng， ér zài《 yǐn yán》 de kāi piān dì yī jù huà， ā xī mò fū jiù tí chū liǎo yòu míng de“ jī qì rén sān dà dìng lǜ”：
dì yī dìng lǜ héng héng jī qì rén bù dé shāng hài rén lèi， yě bù dé jiàn rén lèi shòu dào shāng hài 'ér xiù shǒu bàng guān。
dì 'èr dìng lǜ yī - jī qì rén yìng fú cóng rén lèi de yī qiē mìng lìng， dàn bù dé wéi fǎn dì yī dìng lǜ。
dì sān dìng lǜ héng héng jī qì rén yìng bǎo hù zì shēn de 'ān quán， dàn bù dé wéi fǎn dì yī、 dì 'èr dìng lǜ。
yóu yú běn piàn de gù shì xuán niàn lái zì gēn jù jī qì rén sān dà dìng lǜ de luó ji tuī yǎn， yīn cǐ bàn yǎn jǐng tàn de kē huàn diàn yǐng zhuān yè hù wēi 'ěr shǐ mì sī shuō：“ běn piàn gào sù wǒ men： jī qì rén bìng méi yòu wèn tí， jì shù yě bù shì wèn tí， rén lèi luó ji de jú xiàn cái shì zuì dà de wèn tí。 yīn cǐ， dào tóu lái wǒ men cái fā xiàn， rén lèi zuì dà de dí rén bù shì bié rén， zhèng shì rén lèi zì jǐ。”
yǐngpiān tè jì
duì zhè bù kē huàn tí cái lái shuō， diàn nǎo tè jì lǐ yìng shì běn piàn de zhùjué。 dǎo yǎn rèn wéi diàn yǐng de zhòng yào zuò yòng shì ràng dān chún de huàn xiǎng gèng fù zhēn shí xìng。 wèile dá dào zhè gè mùdì， tā jí hé liǎo yī gè jì suàn jī tè xiào de quán míng xīng zǔ hé， yóu zhì zuò diàn yǐng《 zhǐ huán wáng》 ér róng huò 'ào sī kǎ zuì jiā shì jué xiào guǒ jiǎng、 xiǎng yù quán qiú de xīn xī lán wéi tǎ gōng sī tuán duì zhí xíng zhì zuò， shí xiàn liǎo jī qì rén mó xíng、 chǎng jǐng shè jì hé shù zì xū nǐ xíng xiàng de wán měi jié hé， wèicǐ yī gòng pāi shè liǎo jìn 1000 gè tè xiào jìng tóu。 qí zhōng liàng diǎn xiǎn rán shì liú xiàn xíng、 zhōu shēn tòu míng fàn guāng de Ｎ Ｓ -5 xíng jī qì rén。 sāng ní chú liǎo yǎn jīng shì lán sè de yǐ wài， hé qí tā gāi xíng hào de jī qì rén méi qū bié， bù guò tā de xíng tǐ hé shēng yīn shì yóu zhuān mén de yǎn yuán jiā shàng lǜ mù jì shù jié hé diàn nǎo tè xiào lái zuò de。 qí yú de NS-5 jī qì rén shì cǎi yòng zuì xīn xíng de gǎi jìn lǜ mù jì shù wán chéng。 NS-5 gāo 180 lí mǐ， jù yòu 456 gè huó dòng líng jiàn， jīng yóu 12 wèi bó shì zǔ zhuāng wán chéng， róng diǎn liù qiān huá shì dù， kě fù zhòng 800 bàng， néng chéng shòu shù qiān bàng zhuàng jī , diàn zǐ zhì huì nǎo kě fù zhì rén lèi zì yóu yì zhì， jù yòu 1 Ｔ Ｂ（ 1000GB） nèi cún， měi miǎo néng zhí xíng 6M bǐ yǐ shàng yùn suàn， yōng yòu 80 zhǒng yǔ yán néng lì。 néng jì zhù suǒ yòu nǐ jì bù zhù de rèn hé nèi róng , cǎi yòng tǐ tiē xì xīn de tài lì suō 2.1.2 bǎn cāo zuò xì tǒng； ān zhuāng zài tóu gǔ nèi de shì yòu nài jiǔ tài jīn shǔ wàiqiào bǎo hù de zhì huì nǎo yǐ jí wàn néng jì yì wǎng lù（ UniversalRetentionNetwork）…… děng zhe zài yǐngpiān zhōng kàn kàn， 2035 nián， wǒ men měi sì gè rén jiāng yōng yòu de yī gè de jī qì rén tè xiào chǔlǐ shì fǒu néng rú tā de wén zì shuō míng bān zhēn shí kě xìn bā！
《 jī xiè gōng dí》 - mù hòu huā xù
piānzǐ kāi tóu， dāng shǐ pǔ nà dǎ kāi dà mén， yī gè tóu shàng xiě zhe 42 de jī qì rén zhàn zài tā mén qián de tái jiē shàng。 hěn duō kē huàn diàn yǐng dōuyòu 42 zhè gè hào mǎ， shì yīn wéi shòu dào liǎo dào gé lā sī . yà dāng sī de《 yín hé xì màn yóu zhǐ nán》 de yǐng xiǎng。 piānzǐ shòu dào de《 yín hé xì màn yóu zhǐ nán》 yǐng xiǎng de lìng yī gè lì zǐ， shǐ pǔ nà de wéi yī hǎo rì zǐ shì“ xīng qī sì”。 zài《 zhǐ nán》 zhōng， zhè shì zuò jiā dēng tè yī zhěng zhōu dāng zhōng“ cóng bù néng lǐ jiě……” de yī tiān。 zài gǔ dǒng jī qì rén chú chuāng lǐ， chén liè de shì suǒ ní gōng sī de jī qì gǒu 'ài bō AIBO。
piānzǐ lǐ wēi 'ěr shǐ mì sī kāi de chē shì yī kuǎn jiào zuò AudiRSQ de gài niàn chē， shì 'ào dí tè bié wéi běn piàn shè jì de， dǎo yǎn yà lì kè sī pǔ luó yà sī hái wéi chē de tè bié wài xíng shè jì tí gōng liǎo jiàn yì。 duì yú xián yí fàn jī qì rén sāng ní， jù zǔ cǎi yòng liǎo zài《 zhǐ huán wáng： shuāng tǎ qí bīng》 lǐ chuàng zào gē lún（ Gollum） de tóng yàng chǔlǐ fāng fǎ： yóu 'ài lún tú dài kè AlanTudyk wéi sāng ní tí gōng shēn tǐ dòng zuò hé shēng yīn。 wēi 'ěr shǐ mì sī zài běn piàn lǐ qí de mó tuō shì yī kuǎn 2004 nián de MVAgustaF4-SPR， quán qiú zǒng gòng zhǐ shēng chǎn liǎo 300 liàng。 jì shù cān shù： 750cc， nèi zhì 4 gāng yǐn qíng， 147 mǎ lì， néng tuī jìn dào shí sù chāo guò 175 yīng lǐ。
yǐngpiān zhōng dà duō shù de chē xíng shì yǐ 2004 nián qián de 'ào dí chē， bǐ rú A2、 A6 hé TT wéi mó xíng gǎi zào de， shèn zhì yòu xiē dōuméi yòu gǎi， zhí jiē jiù yòng liǎo。 lán níng bó shì de māo mǐ jiào“ ā xī mò fū”。 zài xì jù xìng de zhuī zhú chǎng miàn zhōng， dài 'ěr shǐ pǔ nà jǐng tàn duì yuē hàn bó jīn shàowèi shuō：“ wǒ yào kāi shǐ huái niàn guò qù de hǎo rì zǐ liǎo。” bó jīn huí dá：“ shénme guò qù hǎo rì zǐ？” shǐ pǔ nà jiù shuō：“ " nà shí hòu rén hái shì bèi qí tā rén shā sǐ de。” zài piānzǐ lǐ， zuì xiān tí chū zhè gè“ měi hǎo jiù shí guāng” de rén bìng fēi shì shǐ pǔ nà， zhèng shì bó jīn。
yǐngpiān zuì hòu， shǐ pǔ nà de nǎi nǎi qí dǎo de jù zǐ shì lái zì《 shèng jīng shī piān》 16： 8“ wǒ jiāng yé hé huá cháng bǎi zài wǒ miàn qián ． yīn tā zài wǒ yòu biān、 wǒ biàn bù zhì yáo dòng”。 sāng ní de yǎn jīng shì lán sè de， qí tā suǒ yòu de NS-5 xíng jī qì rén de yǎn jīng dōushì jīn sè de。 yuē hàn bó jīn shàowèi de tái cí：“ bù， lǎo shí shuō， rén chuàng zào guài wù， guài wù shā rén。 měi gè rén shā guài wù、 láng rén。” zhè duàn tái cí hé《 zhū luó jì gōng yuán》 lǐ de hěn xiāng sì： mǎ 'ěr kē
mǔ bó shì shuō“ shén chuàng zào kǒng lóng， shén huǐ miè kǒng lóng。 shén chuàng zào rén lèi， rén huǐ miè shén， rén lèi chuàng zào kǒng lóng……”
《 jī xiè gōng dí》 - yǐngpiān kàn diǎn
jī qì rén、 wēi 'ěr shǐ mì sī de diàn nǎo dà zuò zhàn
“ wǒ rèn wéi， wǒ men de dòng zuò diàn yǐng yǐ jīng zuò hǎo liǎo dá dào xīn de jì shù shuǐ píng de shí hòu。” hǎo lāi wù nán xīng wēi 'ěr shǐ mì sī（《 dú lì rì》、《 jué dì zhàn jǐng》） cǐ cì shēn jiān yǐngpiān zhí xíng zhì zuò rén， tā ráo yòu xīng qù dì shuō，“ nǐ de gù shì bì xū ràng rén gǎn xīng qù。 suǒ yòu de tè xiào hé bào zhà dū bì xū lái de chāo kù cái xíng。” yú shì wéi běn piàn quán lì tóu rù diàn nǎo xiào guǒ zhì zuò de shì sì jiè 'ào sī kǎ tè xiào dé jiǎng duì wǔ， tā men wéi piàn zhōng wú suǒ bù néng de jī qì lǎo xiōng men zhì zuò liǎo chāo guò 900 gè diàn nǎo dú lì tè xiào， yǐ shǐ dé xiào guǒ gèng jiā bī zhēn。 yòu rén shuō piàn zhōng bái sè tòu míng de jī qì rén wài xíng pō yòu lèi sì píng guǒ gōng sī（ Apple） chǎn pǐn fēng gé， shì shí shàng， zhì zuò rén pà tè lǐ kè jiù shì zài píng guǒ chǎn pǐn iMac zhōng zhǎo dào liǎo líng gǎn：“ dāng nǐ chuān guò wàiqiào kàn dào（ jī qì rén） gòu zào shí， tā men xiǎn dé jiù bù nà me kě pà liǎo”， pà tè lǐ kè xiào dào。
“ lǐng xián zhù yǎn” jī qì rén juésè suǒ ní de shí jì shàng shì zhēn rén yǎn yuán 'ài lún tú dài kè（《 shǎn bì qiú de qí jì》）。 wǒ men píng mù shàngjiàng kàn dào de jī qì rén biǎo yǎn， cǎi yòng liǎo hé《 zhǐ huán wáng sān》 lǐ guài wù gū lū de tóng yàng zhēn rén hé diàn nǎo jié hé de jì shù héng héng lǜ píng、 chuán gǎn qì、 dòng zuò bǔ zhuō hé wán měi de diàn nǎo hé chéng。“ zhè shì wǒ zuì bàng de juésè， jìn guǎn píng mù shàng méi rén kàn dé dào wǒ běn rén， bù guò juésè zài diàn yǐng zhōng de jīng lì duì wǒ lái shuō fēi cháng cì jī。” jī qì rén suǒ ní de yín mù biǎo xiàn yě jiāng chéng wéi běn piàn lìng rén guān zhù de jiāo diǎn。
jiù běn piàn de tè xiào shuǐ piàn 'ér yán， jǐn jǐn tí jí yǐ shàng shì yuǎn yuǎn bù gòu de。 sān wèi jīn pái tè xiào zhì zuò rén jiā shàng shù shí wèi tè xiào zhì zuò shī， yǐ jí xīn xī lán zhī míng de WETA（《 zhǐ huán wáng》 xì liè） de dǐng lì xié zhù，《 jī xiè gōng dí》 quán lì miáo huì chū yī gè 2035 nián de zhī jiā gē héng héng jī qì rén biàn bù， liú guāng bō lí jiē dào hé wèi lái jiàn zhù fán yì de wèi lái dū shì。 dàn wǒ men yě bù yòng dān xīn zhè jǐn shì yī bù chōng mǎn huā shào tè xiào de diàn yǐng， dǎo yǎn yà lì kè sī pǔ luó yà sī（《 yí hún dū shì》） biǎo shì，“ wǒ men bǎ gù shì hé qíng gǎn fàng dào dì yī wèi， rú cǐ diàn nǎo dòng huà jiāng tí gāo diàn yǐng xiào guǒ 'ér bù shì fēn sàn guān zhòng de zhù yì lì。”
shì shí shàng， běn piàn zài xù shì fāng fǎ shàng duō shǎo yòu diǎn《 shǎo shù pài bào gào》 de yǐng zǐ， dàn jié hé 'ā xī mò fū de jī qì rén sān dà dìng lǜ、 hǎo lāi wù zuì zhì shǒu kě rè de hēi rén yǐng xīng wēi 'ěr shǐ mì sī hái yòu“ xìng gǎn píng guǒ zào xíng” de jī qì rén zhè sān dà zuì xī yǐn de jué tóu，《 jī xiè gōng dí》 bì jiāng chéng wéi qī yuè piào fáng dà rè。 wèn tí zhǐ yòu yī gè： zhè bù yǐngpiān néng fǒu zuì zhōng chéng wéi xiàng《 zhōng jié zhě》 yī yàng de kē huàn jīng diǎn？
《 jī xiè gōng dí》 - yǎn yuán jiè shào
《 jī xiè gōng dí》 wēi 'ěr shǐ mì sī
wēi 'ěr shǐ mì sī
měi guó yǎn yuán， gāo zhōng bì yè hòu chī xīn yú gē chàng shì yè， suì jué dìng fàng qì shàng dà xué， zuò quán zhí de yì rén。 1989 nián shǒu cì huò dé gé lāi měi jiǎng“ zuì jiā ráo shé gē yǎn chàng jiǎng”。 jìn 'ér chéng wéi NBC diàn shì yǐng jí《 huó lì wáng zǐ》 (TheFreshPrinceofBelAir) de nán zhùjué。 zài yuètán huò dé jù dà chéng gōng zhī hòu， wēi 'ěr shǐ mì sī xiàng jǐ gè yǎn yì gōng sī de zhù guǎn biǎo shì liǎo tā duì yǎn xì de xīng qù， zhè qí zhōng bāo kuò huá nà zǒng cái bān ní méi dí nà。 méi dí nà shì zài luò shān jī chū shēng qióng kǔ dàn què zài luò shān jī dídí fù rén qū bèi fú lì shān zhuāng de yī gè fù rén jiā tíng dù guò liǎo tā de qīng shàonián shí qī。 tā dāng shí zhèng hǎo zài jìhuà gēn jù tā de qīn shēn jīng lì pāi yī bù diàn shì jù。 méi dí nà jué dé wēi 'ěr shǐ mì sī shì zhèng hǎo de rén xuǎn。 jù hǎo lāi wù nèi bù rén shì tòu lù， dāng nián wēi 'ěr shǐ mì sī zài shì jìng shí niàn jù běn niàn dé rú cǐ jīng cǎi， měi guó guó jiā guǎng bō diàn tái dāng chǎng pāi bǎn jué dìng shàng xì。 1990 nián，《 bèi lāi 'ěr de xīn xiān wáng zǐ》 kāi shǐ bō fàng， shēn shòu guǎng dà guān zhòng xǐ 'ài， yī bō jiù shì liù nián。
jìn guǎn wēi 'ěr shǐ mì sī kàn qǐ lái xiàng yī gè dà dà lie lie de xiǎo hùn hùn， qí shí tā chū shēn zhōng děng jiā tíng， fù qīn shì gōng chéng shī， mǔ qīn shì jiào yù jiè rén shì。 wēi 'ěr shǐ mì sī de shū dú dé gèng shì chū sè， dāng nián má shěng lǐ gōng xué yuàn gěi tā quán jiǎng ràng tā qù dú shū， dàn shì tā yīn wéi yào quán shēn xīn tóu rù yǎn yì jiè， bù dé bù jù jué。《 bèi lāi 'ěr de xīn xiān wáng zǐ》 de chéng gōng shǐ wēi 'ěr shǐ mì sī yǔ xǔ duō hǎo lāi wù de chū sè yǎn yuán jiàn lì qǐ liǎo qīn mì guān xì， zhè qí zhōng bāo kuò dà liàng hēi rén yǎn yuán， rú qióng sī， bǐ 'ěr kǎo cí bǐ， hú bǐ gē dé bǎo， yǐ jí dān zé 'ěr huá shèng dùn。
1993 nián yǐ zhùjué shēn fèn yuè dēng dà yín mù， zài yī bù fěng cì niǔ yuē zhī shí fènzǐ de wén yì piàn《 liù dù fēn lí》 zhī zhōng， bàn yǎn yī gè zì chēng shì hēi rén jù xīng bì ní bào dí 'ér zǐ de lǎo qiān。 1995 nián zhù yǎn jǐng fěi dòng zuò piàn《 jué dì zhàn jǐng》 biàn yī jǔ chéng míng，《 dú lì rì》、《 hēi chāo tè jǐng zǔ》 quán qiú piào fáng zòu jié hòu， shēn jià biāo dào diān fēng。 jìn jǐ nián jiē pāi liǎo xǔ duō mài zuò de dòng zuò piàn。
《 jī xiè gōng dí》 bù lǐ jí tè mò yī nà hǎn
bù lǐ jí tè mò yī nà hǎn
bù lì jī mù nà shì hǎo lāi wù mù qián chú liǎo jié mǐ lǐ kē dì sī hé xuē gē nī wéi fú zhī wài wéi shù bù duō kě yǐ shèng rèn gāo zhì shāng de qiáng yìng juésè 'ér wài xíng yòu bù shī yōu yǎ wǔ mèi de nǚ yǎn yuán zhī yī。 1970 nián shēng yú niǔ yuē de Binghamton， hé liǎng gè gē gē yī qǐ zài Longmeadow zhǎngdà， jiēguǒ tā yě rú tóng jiǎ xiǎo zǐ yī bān duō dòng， àihào gè zhǒng tǐ yù xiàng mù， gāo zhōng shì lán qiú duì duì cháng， xuǎn zé qù shàng gǎn lǎn qiú kè 'ér bù shì xì jù bān。 bù lì jī xiān shì dēng shàng shí shàng T tái bìng zhú jiàn xiǎo yòu míng qì， chū xiàn zài Glamour、 Vogue děng zhòng duō zhù míng zá zhì zhī shàng， zhī hòu yòu jìn rù liǎo niǔ yuē CaymichaelPattenStudio xué xí biǎo yǎn。 1999 nián， bù lì jī zuò wéi jiā bīn chū yǎn rè mén jù《 yù wàng dū shì》 zhōng de Natasha yī jiǎo， cì nián yǐngpiān《 nǚ láng jù lè bù》 zhōng tūn yún tù wù de jiǔ bā nǚ zhāo dài yī jiǎo gěi guān zhòng liú xià liǎo shēn kè yìn xiàng， jiē xià lái yòu chū xiàn zài liǎo yī xì liè bèi shòu guān zhù de rè mén yǐngpiān zhōng， bāo kuò《 dié hǎi jì zhòngjì》、《 zhàn zhēng zhī wáng》、《 wǒ， jī qì rén》 yǐ jí《 wán mìng jì yì》 děng děng， xì lù yě yù lái yù guǎng kuò。
bù lì jī de kē xué jiā fù qīn hòu lái chéng liǎo má shěng 'ā mò sī tè dà xué (UMass) de yī míng guǎn lǐ rén yuán， mǔ qīn de zhí yè shì jiào shī bìng qiě hái zài 2005 nián hé bù lì jī yī qǐ chū yǎn guò yī zé Bostonarea de diàn shì guǎng gào。 cǐ wài bù lì jī mù nà 2004 nián kāi shǐ hé xīn yīng gé lán 'ài guó zhě duì de míng xīng sì fēn wèi TomBrady yuē huì， dàn zài 2006 nián de gǎn 'ēn jié fēn shǒu， 07 nián bù lì jī yíng lái liǎo zì jǐ dì yī gè hái zǐ de jiàng shēng。
《 jī xiè gōng dí》 - chuān bāng jìng tóu
lián guàn xìng cuò wù：
lán níng bó shì de māo chū xiàn de jué dà duō shù chǎng jǐng， tā de yǎn jīng dōushì lán sè de。 dàn shì zài shǐ pǔ nà tiào guò pēn quán nà chǎng xì， māo de yǎn jīng biàn chéng huáng sè liǎo。 shǐ pǔ nà hé shàowèi zài jiǔ bā hē jiǔ， shàowèi jiǔ píng shàng miàn de shāng biāo， měi cì qiē huàn jìng tóu jiǎo dù yī cì， jiù biàn huà yī cì。 zài suì dào zhuī zhú xì hòu， shǐ pǔ nà qù jiǎn chá tā de jiǎo huái， kāi shǐ tā de tuǐ shì fēn kāi de， xià yī gè jìng tóu， tā de zuǒ tuǐ jiù dié fàng zài liǎo yòu jiǎo shàng。 dāng jiā 'ěr wén bó shì zǒu jìn tā de shí yàn shì qù wèn sāng ní shí， tā dé zǒu xià jǐ jí tái jiē。 shè xiàng jī cóng tā bèi hòu tuī jìn de shí hòu， kě yǐ kàn jiàn tā zǒu liǎo sì bù xià tái jiē， dàn shì， nà 'ér yī gòng jiù zhǐ yòu sān jí tái jiē。
bào lù cuò wù：
shǐ pǔ nà hé jiā 'ěr wén bó shì shì tú guān bì VIKI， jī qì rén xí jī tā men de nà chǎng xì， yī gè cháng jìng tóu pāi shè liǎo shǐ pǔ nà duì zhe tā shēn biān sì miàn shè jī bìng páo dòng。 zhè gè míng xiǎn shì CGI zuò de， yīn wéi yòu xiē shùn jiān kě yǐ kàn chū huà miàn lǐ tā de tóu gēn bó zǐ huò zhě shēn tǐ fēn kāi méi 'āi zhe。
《 jī xiè gōng dí》 - yǐngpiān diǎn píng
wèi lái， fā dá de gāo kē jì shè huì zhōng fā shēng de zú yǐ gǎi biàn rén lèi lì shǐ de wēi jī --《 jī xiè gōng dí》 de gù shì lán běn， zuì zǎo lái yuán yú biān jù jié fū wēn tǎ JeffVintar shí duō nián yǐ qián chuàng zuò de jù běn《 Hardwired》， tā jiǎng shù liǎo yī zhuāng shén mì de móu shā 'àn， ér jī qì rén kě néng cái shì mù hòu yuán xiōng。 zhì piàn rén láo lún sī mǎ kè LaurenceMark duì zhè gè gù shì xiāng dāng gǎn xīng qù， yǔ cǐ tóng shí， èr shí shì jì fú sī diàn yǐng gōng sī yī zhí xiǎng pāi yī bù yòu guān jī qì rén de dà xíng diàn yǐng， suì jiāng zhī liè rù chóu pāi rì chéng， bìng chū bù nǐ dìng yóu yà lì kè sī pǔ luó yà sī AlexProyas zhí dǎo。 2000 nián chū， jié fū wēn tǎ fēi fù 'ào zhōu kāi shǐ tóng dǎo yǎn pǔ luó yà sī jiù《 jī xiè gōng dí》 pāi piàn jìhuà jìn xíng gōu tōng， zhěng gè hé zuò 'àn zú zú huā liǎo liǎng nián duō。
kāi shǐ shí， gāi piàn bèi dìng wèi yú wèi lái bèi jǐng xià de móu shā jīng sǒng piàn， jiē xià lái tā men cháng shì jiāng gé jú fàng dà yǐ biàn yòu gèng duō kě fā huī de kōng jiān。 yīn wéi dǎo yǎn pǔ luó yà sī duì shì jué fēng gé dú dào qiě yōu yì de pǐn wèi， zhù chuàng rén yuán zuì zhōng dá chéng gòng shí， yào jiāng《 jī xiè gōng dí》 pāi chéng hóng dà bèi jǐng xià de shǐ shī hào jié， tā men de yě xīn cù shǐ gāi piàn bì xū yào zài shì jué tè xiào shàng lì zhēng yòu suǒ tū pò。
zài dāng shí， zhì piàn rén yuē hàn dài wéi sī JohnDavis míng xià de zhì piàn gōng sī ná dào liǎo《 jī xiè gōng dí》 de diàn yǐng bǎn quán， ér dǎo yǎn pǔ luó yà sī zài kē huàn dà shī 'ài sà kè ā xī mò fū IsaacAsimov de xiǎo shuō lǐ zhǎo dào liǎo jù běn yǐ wài de shì jué yuán sù， ā xī mò fū zuò pǐn zhōng de sī xiǎng hé rén wù hěn zì rán dì róng rù biān jù jié fū wēn tǎ de wèi lái móu shā 'àn jù běn。
《 jī xiè gōng dí》 - yī jù huà píng lùn
Whatwillyoudowithyours?
jī xiè gōng dí jī xiè gōng dí
Lawsaremadetobebroken
Onemansawitcoming.
qíng jié guò yú jiǎn dān 'ér lìng rén shī wàng， zhuī zhú hé dòng zuò chǎng miàn chōng chì zhe kē huàn diàn yǐng cháng guī làn yòng de CGI jì shù chǔlǐ。
héng héng zhī jiā gē tài yáng bào
fēi cháng shú liàn， dàn yě míng xiǎn ràng rén shī wàng， nào dú lì de jī qì rén hé liú máng jǐng chá zài yī xiē piàn duàn lǐ xiǎn dé nào hōng hōng de。
héng héng lún dūn shí bào
zhè bù gāo kē jì diàn yǐng， pāi de hǎo kàn dàn shì xiǎn dé zhì shāng bìng bù gāo。
héng héng guān chá jiā
zuò wéi duì rén gōng zhì néng jì shù de lún lǐ tàn suǒ， zhè bù diàn yǐng bǐ《 A.I.》 yào gèng qiān xùn、 gèng mí rén。
héng héng BBC diàn yǐng píng lùn
dòng zuò chǎng miàn shí fēn yǐn rén rù shèng。 suī rán bù néng suàn shì lì shǐ xìng tū pò， dàn tōng guò wǒ men zhè gè shí dài de shù zì jì shù， guān kàn jī qì rén duì dǎ de chǎng miàn zhuóshí lìng rén xīng fèn。
héng héng shì jué zhōu kān
《 jī xiè gōng dí》 - wán quán bān dǐ
wēi 'ěr · shǐ mì sī： guān fāng shǒu xuǎn
jù jǐ wèi zhì piàn rén kǒu jìng yī zhì de“ guān fāng” shuō fǎ， wēi 'ěr · shǐ mì sī shì zhì zuò fāng de shǒu xuǎn。 tóng shí， tā hái dá yìng zài gāi piàn zhōng dān rèn jiān zhì ( cǐ qián， tā céng wéi yóu luó bó tè · dé ní luó hé 'āi dí · mò fěi zhù yǎn de yǐngpiān《 zuò xiù shí kè》 (Showtime)。 dān rèn jiān zhì )， zhèng shì yóu yú wēi 'ěr de tuī jiàn，《 měi lì xīn líng》 de jīn jiǎng biān jù 'ā qí wǎ · gāo sī màn AkivaGoldsman yě dé yǐ jiā rù mù hòu zhèn róng。
jī xiè gōng dí jī xiè gōng dí
“《 jī xiè gōng dí》 zuì xī yǐn wǒ de shì， tā de zhōng xīn gài niàn shì jī qì rén méi yòu wèn tí， kē jì bìng bù shì wèn tí běn shēn， rén lèi luó ji de jí xiàn cái zhēn de shì wèn tí， ér zuì zhōng， wǒ men chéng wéi zì jǐ zuì dà de dí rén。” zhè shì wēi 'ěr · shǐ mì sī chū yǎn gāi piàn de zuì dà tǐ huì。
bù lǐ jí tè · mò yī nà hǎn： rè chén zhì shàng
yǐ jiù yǐn yòng guān fāng de shuō fǎ：“ tā néng gòu fēi cháng tiē qiē dì chuán dá wǒ men duì zhè gè juésè de shè jì， yě jiù shì zài jī qì rén bān bīng lěng de wài biǎo xià， què yòu zhe hěn rén xìng de rè chén。”
xiàngmào xiù lì de bù lǐ jí tè · mò yī nà hǎn cóng yǐngpiān《 mèi lì sì shè》 (CoyoteUgly) zhōng xùn sù jué qǐ。 zài rè mén jù jí《 yù wàng dū shì》 zhōng tā yě céng yòu shàng jiā biǎo xiàn。 yǐngpiān《 xīn shǒu》 (TheRecruit) zhōng tā yǔ 'ā 'ěr · pà xī nuò hé kē lín · fǎ ruì 'ěr yòu guò yú kuài de hé zuò。
dǎo yǎn： yà lì kè sī · pǔ luó yà sī
zhè wèi lái zì 'ào zhōu qiě kē bān chū shēn de dǎo yǎn， sù lái yǐ shàn cháng yíng zào chōng mǎn shén mì hé wèi lái gǎn de yǐngpiān 'ér wén míng。 1994 nián， tā píng yī bù gǎi biān zì tóng míng màn huà de《 wū yā》 (TheCrow) lìng shì rén suǒ zhī。 sì nián hòu， gèng shì yǐ nà bù《 yí hún dū shì》 (DarkCity) zhēng fú liǎo guān zhòng。 cǐ qián， tā hái zì biān zì dǎo liǎo qí dì yī bù miáo xiě xiàn shí shì jiè de qīng chūn piàn《 chē kù shí guāng》 (GarageDays)。
yà lì kè sī zì xiǎo biàn shì 'ā xī mò fū de zhōng shí dú zhě， tā yī zhí mèng xiǎng zhe néng pāi yī bù rú《 jī xiè gōng dí》 de yǐngpiān， zhè cì tā mèng xiǎng chéng zhēn liǎo。
NS-5 jī běn zī liào
gāo dù 180 gōng fēn， nài jiǔ tài jīn shǔ wàiqiào， jù 456 gè huó dòng líng jiàn， xū jīng yóu 12 wèi bó shì zǔ zhuāng wán chéng， róng diǎn huá shì liù qiān dù， kě fù zhòng 800 bàng， néng chéng shòu shù qiān bàng zhuàng jī。 diàn zǐ zhì huì nǎo kě fù zhì rén lèi zì yóu yì zhì， jù yòu 1TB nèi cún， měi miǎo néng zhí xíng 6 zhào bǐ yǐ shàng yùn suàn， yōng yòu 80 zhǒng yǔ yán néng lì。
kē huàn dà shī 'ā xī mò fū -- huàshídài de jī qì rén sān dà 'ān quán fǎ zé：
1. jī qì rén bù néng shāng hài rén lèi， huò zuò shì rén lèi shòu dào shāng hài 'ér xiù shǒu bàng guān。
2. chú fēi wéi bèi dì yī fǎ zé， jī qì rén bì xū fú cóng rén lèi de mìng lìng。
3. zài bù wéi bèi dì yī hé dì 'èr fǎ zé qián tí xià， jī qì rén bì xū bǎo hù zì jǐ。
《 wǒ， jī qì rén》（ I,Robot）， shì měi guó zuò jiā 'ài sà kè · ā xī mò fū chū bǎn yú 1950 nián de kē huàn
jī xiè gōng dí jī xiè gōng dí
xiǎo shuō duǎn piān jí， shōu lù 9 piān duǎn piān xiǎo shuō。 dà duō yuán zài yú 1940 nián dào 1950 nián jiān de měi guó《 chāo jí kē xué gù shì》（ SuperScienceStories） zá zhì hé《 jīng qí kē huàn xiǎo shuō》 zá zhì（ AstoundingScienceFiction）。 shū zhōng de duǎn piān gù shì gè zì dú lì， què yōng yòu gòng tóng de zhù tí， tàn tǎo rén lèi yǔ jī qì rén zhī jiān de dào dé wèn tí。 zhè xiē gù shì jié hé zhī hòu， kāi chuàng chū 'ā xī mò fū de jī qì rén hào hàn xū gòu lì shǐ。
chuàn lián qǐ zhè jǐ gè gù shì de líng hún rén wù， shì měi guó jī qì rén yǔ jī xiè rén gǔ fèn yòu xiàn gōng sī ( cháng jiǎn chēng wéi 「 měi guó jī qì rén gōng sī 」 )（ U.S.RobotsandMechanicalMen,Inc.） de jī qì rén xīn lǐ xué jiā sū shān · kǎi wén（ Dr.SusanCalvin） bó shì。 zài chū bǎn duǎn piān jí shí， ā xī mò fū jiè yóu wǎn nián kǎi wén jiē shòu zhuān fǎng， huí yì guò wǎng rú hé yùn yòng「 jī qì rén xīn lǐ xué」（ Robopsychology） gēn xíng wéi shī cháng jī qì rén de jiē chù。 zhù míng de「 jī qì rén sān dìng lǜ」 jiù shì zài zhè bù duǎn piān jí lǐ chū cì dēng chǎng。
xiǎng xiàng yī xià wèi lái， rú guǒ jī qì rén yòu liǎo zhù tǐ yì shí， tā men kě yǐ sī kǎo， kě yǐ jué cè， shèn zhì kě yǐ qiáo bù qǐ rén lèi（ nǐ men zhè xiē shǒu wú fù jī zhī lì、 yóu dàn bái zhì zǔ chéng、 měi tiān yào hūn shuì bā gè zhōng tóu de jiā huǒ……）， shì jiè jiāng huì biàn dé rú hé？
zǎo zài 1950 nián， ài xī mò fū jiù yǐ jīng shè xiǎng dào liǎo zhè xiē qíng jǐng， bìng qiě yǐ chāo yuè shí dài de sī wéi， chuàng jiàn chū hóng guān de wèi lái jī qì rén shì jiè。 yú shì， wěi dà de「 jī qì rén xué sān dà fǎ zé」 jiù cǐ dàn shēng， chéng wéi kē huàn jiè wú kě hàn dòng de tiě lǜ：
yī、 jī qì rén bù dé shāng hài rén lèi， huò xiù shǒu bàng guān zuò shì rén lèi shòu dào shāng hài。
èr、 chú fēi wéi bèi dì yī fǎ zé， jī qì rén bì xū fú cóng rén lèi de mìng lìng。
sān、 zài bù wéi bèi dì yī fǎ zé jí dì 'èr fǎ zé de qíng kuàng xià， jī qì rén bì xū bǎo hù zì jǐ。
yīn cǐ， jù dà de shuǐ xīng cǎi kuàng jī qì rén SPD13， yīn wéi sān dà fǎ zé de chōng tū 'ér zài yuán dì dǎzhuàn； xiǎo qiǎo kě 'ài de tài kōng zhàn zhù kòng jī qì rén QT1， bù jǐn wán quán qǔ dài rén de gōng zuò， shèn zhì hái kāi shǐ sī kǎo guān yú zào wù zhù de zhé xué wèn tí； jù shuō kě yǐ tòu shì xīn líng de jī qì rén RB34， jū rán dǒng dé yòng rén lèi de xīn lǐ， chuài mó shuō chū tā men xiǎng tīng de huà； ér xiǎng yào zài yī dà qún Nester10 hào jī qì rén zhōng， zhǎo chū yī gè yǐn cáng qí zhōng táo tuō zhě， jìng chéng wéi rén yǔ jī qì rén dà wán xīn lǐ yóu xì de zhàn chǎng……
ài xī mò fū bǐ xià de「 jī qì rén xīn lǐ xué jiā」 sū shān ˙ kǎi wén， qīn shēn tǐ yàn zhè xiē shì jiàn de yǎn jìn， yě jì xià liǎo 20 shì jì mò dào 21 shì jì zhōng de jī qì rén fā zhǎn shǐ ── cóng jiǎn dān de bǎo mǔ xíng jī qì rén， yī zhí dào quán shì jiè zhǐ yòu sì tái de chāo jí diàn nǎo。 suí zhe jī qì rén yuè lái yuè cōng míng， gōng néng yuè lái yuè qiáng dà， tā bù dé bù tàn dào：「 yī kāi shǐ jī qì rén hái bù huì shuō huà， dàn zuì hòu tā men què tǐng lì yú rén lèi yǔ huǐ miè zhī jiān……」
běn shū céng yú 2004 nián bèi gǎi biān wéi diàn yǐng《 jī xiè gōng dí》。 diàn yǐng zhǐ cóng shū zhōng yǐn yòng liǎo jī qì rén xué sān dà fǎ zé hé yī xiē rén míng， zhù tǐ nèi róng bìng wú zhí jiē xiāng guān； dàn shì cóng《 wǒ， jī qì rén》 xiǎo shuō zhōng， dú zhě kě yǐ zhǎo dào diàn yǐng de yuán shǐ chuàng yì jīng shén， bìng liǎo jiě sān dà fǎ zé de zhēn zhèng hán yì。
ài xī mò fū de kē huàn xiǎo shuō xiāng dāng jiǎn dān yì dú， gù shì jié gòu dōuhěn qīng chǔ， kě shuō shì fēi cháng dà zhòng huà de kē huàn zuò pǐn。 zài 20 shì jì kē huàn xiǎo shuō de xiě zuò fā zhǎn shǐ lǐ， ài xī mò fū yǔ kè lā kè、 hǎi lāi yīn qí míng， bèi yù wéi zuì wěi dà de「 sān jù tóu」。 ài xī mò fū wán chéng liǎo【 jī qì rén】、【 dì guó】、【 jī dì】 sān dà kē huàn xiǎo shuō xì liè， píng jià dū fēi cháng gāo， ér běn shū biàn shì【 jī qì rén】 xì liè lǐ dì yī běn， tóng shí yě shì zuì jīng cǎi de yī běn。 rú guǒ nǐ xiǎng rèn shí 'ài xī mò fū hé tā de kē huàn xiǎo shuō，《 wǒ， jī qì rén》 jué duì shì nǐ de shǒu xuǎn！
《 jī xiè gōng dí》 - yǐngpiān guān hòu gǎn
zài jī xiè gōng dí qián miàn de shí hòu， jī qì rén sāng ní shuō qǐ tā zuò liǎo yī gè mèng， zài mèng zhōng， yòu yī gè rén zhàn zài shā duī shàng， nà rén shì lǐng dǎo jī qì rén jiě fàng de lǐng dǎo zhě！ suǒ yǐ rén kāi shǐ de shí hòu dū yǐ wèishì wēi 'ěr · shǐ mì sī suǒ bàn yǎn de dài 'ěr。 shǐ pǔ nà！ dàn zài yǐngpiān jiù yào jié shù de zuì hòu nà yī gè jìng tóu lǐ， zhàn zài shā duī shàng de nà“ rén” què shì jī qì rén sāng ní！
dà jiādōu zhī dào， sāng ní yǐ jīng xué huì liǎo rén lèi de sī xiǎng！ méi yòu rén zhī dào tā zhàn zài shā duī shàng guān kàn zhe xià miàn zhè wú shù jī qì rén shí yòu shénme xiǎng fǎ！
dàn rú guǒ tā dāng shí yōng yòu yī gè zài rén lèi zhōng míng wéi“ zhēng fú” de niàn tóu hòu， huì bù huì fā shēng yī xiē suǒ yòu réndōu yì xiǎng bù dào de jié jú ní？
Several of the stories feature the character of Dr. Susan Calvin, chief robopsychologist at U.S. Robots and Mechanical Men, Inc., the major manufacturer of robots. Upon their publication in this collection, Asimov wrote a framing sequence presenting the stories as Calvin's reminiscences during an interview with her about her life's work, chiefly concerned with aberrant behaviour of robots, and the use of "robopsychology" to sort them out. The book also contains the short story in which Asimov's famous Three Laws of Robotics first appear. Other characters that appear in these short stories are Powell and Donovan, a field-testing team which locates flaws in USRMM's prototype models.
The collection's title is the same as a short story written by Eando Binder, but is not connected to it. Asimov wanted to call his collection Mind and Iron, and initially objected when the publisher changed the title.
Contents
* "Robbie"
* "Runaround"
* "Reason"
* "Catch that Rabbit"
* "Liar!"
* "Little Lost Robot"
* "Escape!"
* "Evidence"
* "The Evitable Conflict"
Publication history
Cover art for I, Robot featuring a scene from "Runaround".
* New York: Gnome Press, (Trade paperback "Armed Forces Edition", 1951)
* New York: Grosset & Dunlap, (hardcover, 1952)
* London: Grayson, (hardcover, 1952)
* British SF Book Club, (hardcover, 1954)
* New York: Signet Books, (mass market paperback, 1956)
* New York: Doubleday, (hardcover, 1963)
* London: Dobson, (hardcover, 1967)
* ISBN 0-449-23949-7 (mass market paperback, 1970)
* ISBN 0-345-31482-4 (mass market paperback, 1983)
* ISBN 0-606-17134-7 (prebound, 1991)
* ISBN 0-553-29438-5 (mass market paperback, 1991)
* ISBN 1-4014-0039-6 (e-book, 2001)
* ISBN 1-4014-0038-8 (e-book, 2001)
* ISBN 0-553-80370-0 (hardcover, 2004)
* ISBN 91-27-11227-6 (hardcover, 2005)
* ISBN 0-7857-7338-X (hardcover)
* ISBN 0-00-711963-1 (paperback, UK, new edition)
* ISBN 0-586-02532-4 (paperback, UK)
Film, TV and theatrical adaptations
At least three of the short stories from I, Robot have been adapted for television. The first was an 1962 episode of Out of this World hosted by Boris Karloff called "Little Lost Robot" with Maxine Audley as Susan Calvin. In the 1960s, two short stories from this collection were made into episodes of the television series Out of the Unknown: "The Prophet" (1967), based on "Reason"; and "Liar!" (1969). The 12th episode of the USSR science fiction TV series This Fantastic World, filmed in 1987 and entitled Don't Joke with Robots was based on works by Aleksandr Belyaev, Fredrik Kilander and Asimov's "Liar!" story.
In the late 1970s, Warner Brothers acquired the option to make a film based on the book, but no screenplay was ever accepted. The most notable attempt was one by Harlan Ellison, who collaborated with Asimov himself to create a version which captured the spirit of the original. Asimov is quoted as saying that this screenplay would lead to "the first really adult, complex, worthwhile science fiction movie ever made."
Ellison's script builds a framework around Asimov's short stories that involves a reporter named Robert Bratenahl tracking down information about Susan Calvin's alleged former lover Stephen Byerly. Asimov's stories are presented as flashbacks that differ from the originals in their stronger emphasis on Calvin's character. Ellison placed Calvin into stories in which she did not originally appear and fleshed out her character's role in ones where she did. In constructing the script as a series of flashbacks that focused on character development rather than action, Ellison used the film Citizen Kane as a role model.
Although acclaimed by critics, the screenplay is generally considered to have been unfilmable based upon the technology and average film budgets of the time. Asimov also believed that the film may have been scrapped because of a conflict between Ellison and the producers: when the producers suggested changes in the script, instead of being diplomatic as advised by Asimov, Ellison "reacted violently" and offended the producers. The script eventually appeared in book form under the title I, Robot: The Illustrated Screenplay, in 1994 (reprinted 2004, ISBN 1-4165-0600-4).
"I, Robot" is the title of an episode of the original The Outer Limits television show. The episode, based on the Eando Binder short story, first aired on 14 November 1964, during the second season. It was remade under the same title in 1995.
The film I, Robot, starring Will Smith, was released by Twentieth Century Fox on July 16, 2004 in the United States. Its plot is not based on any one story in the collection but does incorporate elements of "Little Lost Robot" and other stories, and uses many of Asimov's characters and ideas about robots, including the Three Laws.
Influence
In 2004 The Saturday Evening Post said that I, Robot's Three Laws "revolutionized the science fiction genre and made robots far more interesting than they ever had been before." I, Robot has influenced many aspects of modern popular culture, particularly with respect to science fiction and technology. One example of this is in the technology industry. The name of the real-life modem manufacturer named U.S. Robotics was directly inspired by I, Robot. The name is taken from the name of a robot manufacturer ("United States Robots and Mechanical Men") that appears throughout Asimov's robot short stories.
Many works in the field of science fiction have also paid homage to Asimov's collection. The animated science fiction/comedy Futurama makes several references to I, Robot. The title of the episode "I, Roommate" is a spoof on I, Robot although the plot of the episode has little to do with the original stories. Additionally, the episode "The Cyber House Rules" included an optician named "Eye Robot" and the episode "Anthology of Interest II" included a segment called "I, Meatbag."[citation needed] Also in "Bender's Game" the psychiatric doctor is shown a logical fallacy and explodes when the assistant shouts "Liar!" a la "Liar!" . And an episode of the original Star Trek series, "I, Mudd" which depicts a planet of androids in need of humans references "I, Robot." Another reference appears in the title of a Star Trek: The Next Generation episode, "I, Borg". in which Geordi La Forge befriends a lost member of the Borg collective and teaches it a sense of individuality and free will.
The Positronic brain, which Asimov named his robots' central processors, is what powers Data from Star Trek: The Next Generation, as well as other Soong type Androids. Positronic brains have been referenced in a number of other television shows including Doctor Who, Once Upon a Time... Space, Perry Rhodan, The Number of the Beast, and others.
Author Cory Doctorow has written a story called "I, Robot" as homage to Asimov, as well as "I row-boat", both released in the short-story collection Overclocked: Stories of the Future Present. He has also said, "If I return to this theme, it will be with a story about uplifted cheese sandwiches, called 'I, Rarebit.'".
Other cultural references to the book are less directly related to science fiction and technology. The 1977 album I Robot, by The Alan Parsons Project, was inspired by Asimov's I, Robot. In its original conception, the album was to follow the themes and concepts presented in the short story collection. The Alan Parsons Project were not able to obtain the rights, so the album's concept was altered slightly (although the name was kept). The 2002 electronica album by experimental artist Edman Goodrich (known, at times, to operate under the aliases of "je, le roi!" and "The Ghost Quartet") shares the title of I, Robot, and is heavily influenced by Asimovian themes. The 2009 album, I, Human, by Singaporean band Deus Ex Machina draws heavily upon Asimov's principles on robotics and applies it to the concept of cloning. The satirical newspaper The Onion published an article entitled "I, Rowboat" in which an anthropomorphized rowboat gives a speech parodying much of the angst experienced by robots in Asimov's fiction, including a statement of the "Three Laws of Rowboatics."
The name of the movie itself is taken from Robert Graves' book I, Claudius.
《 jī xiè gōng dí》 - jù qíng jiǎn jiè
gōng yuán 2035 nián， zǒng bù wèi yú zhī jiā gē de měi guó USR gōng sī kāi fā chū chāo néng jī qì rén chǎn pǐn --NS-5， qí wài xíng kù sì rén lèi， yōng yòu qiáng huà nài jiǔ de tài jīn shǔ wàiqiào， kě zhí xíng gè zhǒng rèn wù。 cóng bǎo mǔ、 chú shī、 kuài dì、 liú gǒu dào guǎn lǐ jiā tíng shōu zhī， jiǎn zhí shì wú suǒ bù néng。 yī shí jiān， jī qì rén de shù liàng chéng 3 bèi qū shì zēngzhǎng， píng jūn měi 5 rén biàn yōng yòu 1 gè jī qì rén。 suí zhe NS-5 bèi dà liàng qīng xiāo， jī qì rén kāi shǐ chōng dāng qǐ shè huì gè gè lǐng yù de zhòng yào juésè。 ér fā míng tā de USR gōng sī yě chéng wéi dì qiú shàng yòu shǐ yǐ lái zuì qiáng dà de jí tuán。
jǐng tàn shǐ pǔ nà ( wēi 'ěr shǐ mì sī WillSmith shì ) shǐ zhōng liú liàn yǐ wǎng jiǎn dān de shēng huó， ài tīng lǎo gē， xǐ huān lǎo shì de dǎ bàn。 tā yàn 'è kē jì hé jī qì rén， què yòu bù dé bù shēng huó zài yóu zhè liǎng zhě zǔ chéng de shì jiè lǐ。 zhuān mén cóng shì jī qì rén xīn lǐ yán jiū de kē xué jiā sū shān ( bù lǐ jí tè mò yī nà hǎn BridgetMoynahan shì ) xiàng lái chóng shàng luó ji yǔ kē xué， tā jiān xìn zǒng yòu yī tiān jī qì rén huì shèng guò rén lèi， bìng huí guò tóu lái bāng zhù rén lèi jìn bù。
shēng huó guān niàn nán yuán běi zhé de shǐ pǔ nà hé sū shān què zài diào chá yī zhuāng yí sì NS-5 móu shā rén lèi de 'àn jiàn zhōng bù qī 'ér yù …… rén lèi zhì zào jī qì rén shí， tōng cháng huì zūn xún suǒ wèi“ jī qì rén sān dà 'ān quán fǎ zé” lái shè jì bìng kòng zhì tā men。 dàn shì， suí zhe diào chá de shēn rù， rén men fā jué jī qì rén sì hū yǐ jīng xué huì liǎo zì wǒ sī kǎo， bìng qiě jiě kāi liǎo kòng zhì tā men de mì mǎ， chéng wéi liǎo wán quán dú lì de“ jī qì lèi”。
rén lèi bì xū kāi shǐ chóngxīn sī kǎo rú hé miàn duì jī qì rén， dàn shì， jī qì rén huò zhě rén lèi zì shēn dū zhí dé xìn lài má？
《 jī xiè gōng dí》 - mù hòu zhì zuò
ào dà lì yà dǎo yǎn 'ài lǐ kè sī bù luó yǎ sī shì yī gè zhì zào huàn xiǎng de tiān cái， tā de《 yí hún dū shì》（ DarkCity） yī zhí shì guǎng shòu hǎo píng de CULT diàn yǐng jīng diǎn zhī zuò， hòu lái de zhòng duō diàn yǐng， shèn zhì bāo kuò《 chǔ mén de shì jiè》（ TrumanShow） hé《 hài kè dì guó》 dū céng shēn shòu qí yǐng xiǎng。 duì yú běn piàn de zhì zuò， tā rèn wéi diàn yǐng de zhòng yào zuò yòng shì ràng dān chún de huàn xiǎng gèng fù zhēn shí xìng。 wèile dá dào zhè gè mùdì， ài lǐ kè sī jí hé liǎo yī gè jì suàn jī tè xiào de quán míng xīng zǔ hé， shí xiàn jī qì rén mó xíng、 chǎng jǐng shè jì hé shù zì xū nǐ xíng xiàng de wán měi jié hé， pāi shè liǎo jìn 1000 gè tè xiào jìng tóu。 quán xīn jī qì rén zào xíng， shì běn piàn xī yǐn guān zhòng de yī gè zhòng yào yuán sù。
yǐngpiān de chuàng zuò guò chéng
diàn yǐng zuì chū de jù běn jiào《 yìng xiàn》（ HARDWIRED）， shì yī gè jīng diǎn yàng shì de xuán yí móu shā gù shì， qí zhù zhǐ fēi cháng tiē jìn 'ā xī mò fū de“ jī qì rén sān dà dìng lǜ”， kě yǐ shuō， gù shì de fā zhǎn mài luò jiù shì gēn jù dìng lǜ de luó ji tuī yǎn lái shè jì qíng jié de。
dí sī ní dǎo yǎn bù lāi 'ēn xīn gé（ BryanSinger） duì zhè fèn zuì chū de《 yìng xiàn》 shǒu gǎo jìn xíng liǎo xiū gǎi， dāng shǒu gǎo zuì zhōng bèi sòng dào 20 shì jì fú kè sī gōng sī yǐ hòu， dǎo yǎn yà lì kè sī pǔ luó yà sī（ AlexProyas） hé zuò jiā jié fū wēn tǎ（ JeffVintar） gòng tóng nǔ lì， jiāng tā xiū gǎi wéi yī gè shì hé dà zhì zuò de gèng jiā hóng dà kāi fàng de diàn yǐng jù běn。 chèn zhe fú kè sī gōng sī zài zhēng qǔ 'ā xī mò fū（ IsaacAsimov） xiǎo shuō bǎn quán de shí hòu， wēn tǎ huā liǎo dà yuē liǎng nián zuǒ yòu de shí jiān， jiāng diàn yǐng jù běn biān xiě wéi lèi sì 'ā xī mò fū jī qì rén xiǎo shuō xì liè zhōng de yī gè gù shì。 gù shì bāo hán liǎo nǚ zhùjué jī qì rén xīn lǐ xué jiā sū shān kǎ 'ěr wén bó shì hé jī qì rén sān dà dìng lǜ， zhè liǎng gè yuán sù shì 'ā xī mò fū《 wǒ， jī qì rén》 xì liè kē huàn xiǎo shuō lǐ miàn yī zhí cún zài guàn chuān shǐ zhōng de。 hòu lái， xī lā lǐ sài cí（ HillarySeitz） yòu wéi jù běn dòng liǎo shǒu shù。 zuì hòu， zài wēi 'ěr shǐ mì sī jiā méng yǐngpiān hòu， ā jī wǎ gāo sī màn（ AkivaGoldsman） yòu wéi liǎo tā de juésè zài cì duì jù běn jìn xíng liǎo jiǎn cái， xíng chéng liǎo xiàn zài yǐngpiān zuì zhōng suǒ chéng xiàn de miàn mào。 jìn guǎn huā liǎo zhè me cháng de shí jiān hé rú cǐ duō rén de xīn láo， dàn què shí shì zuì chū de《 yìng xiàn》 zuò zhě gāo fū zàn 'ēn lǐ（ GeoffZanell） wéi běn piàn de gù shì tí gōng liǎo zhù tí。
ā xī mò fū jí zuò pǐn
ài sà kè ā xī mò fū， měi jí 'é yì yóu tài rén， běn shì jì zuì wěi dà de kē huàn xiǎo shuō jiā。 tóng yàng yě shì wén xué shuò shì、 huà xué bó shì hé fēi cháng yōu xiù de kē pǔ xiǎo shuō jiā。 yuān bó de xué shí hé bù xiè de nǔ lì shǐ 'ā xī mò fū zuò pǐn de shù liàng fēi cháng jù dà， bìng shǐ tā huò dé liǎo yī xì liè de róng yù hé bāo jiǎng。 zài shì shì qián bù jiǔ， tā céng zì shù chū bǎn guò 467 bù zhù zuò， dàn yán jiū tā de zuò pǐn de zhuān jiā chēng， tā zhì shǎo chū bǎn guò 480 bù zhù zuò。 ér qiě tǐ cái guǎng fàn， yòu yán sù de lì shǐ hé kē xué lùn zhù， yě yòu qīng sōng de xì jù、 yōu mò xiǎo shuō。
《 wǒ， jī qì rén》 shì 'ā xī mò fū zhū duō kē huàn zhù zuò zhōng zuì yòu míng de xì liè zhī yī。 lìng wài yī gè zhù míng de shì《 jī dì》 xì liè。 zhè liǎng gè kuài zhì rén kǒu de xì liè hé《 qí tā jī qì rén》 děng děng gù shì， dū gè zì dú lì chéng piān， dàn dāng guàn chuàn qǐ lái， què yòu shì yī bù fǔ yǎng liǎng wàn nián de cháng piān shǐ shī。 ā xī mò fū de kē huàn shì jiè guǎng kuò jù dà， tōng guò miáo huì yín hé dì guó de xīng wáng shǐ， lái tǎo lùn rén xìng yǔ zhèng zhì、 jīng jì、 jūn shì děng wén míng yào sù chǎn shēng de hù dòng yǐng xiǎng。 zhè zhǒng hóng guān shì yě shǐ tā de zuò pǐn chōng mǎn duì rén lèi wèi lái de guān huái hé sī kǎo， kě yǐ shuō yǐng xiǎng hé gǎi biàn liǎo hěn duō dú zhě duì shì jiè de kàn fǎ。
běn piàn piàn míng《 wǒ， jī qì rén》， duì yú kē huàn xiǎo shuō dú zhě kě yǐ shuō shì rú léi guàn 'ěr。 xì liè xiǎo shuō yóu shí jǐ gè dú lì chéng piān de gù shì fēn bié zǔ chéng， ér zài《 yǐn yán》 de kāi piān dì yī jù huà， ā xī mò fū jiù tí chū liǎo yòu míng de“ jī qì rén sān dà dìng lǜ”：
dì yī dìng lǜ héng héng jī qì rén bù dé shāng hài rén lèi， yě bù dé jiàn rén lèi shòu dào shāng hài 'ér xiù shǒu bàng guān。
dì 'èr dìng lǜ yī - jī qì rén yìng fú cóng rén lèi de yī qiē mìng lìng， dàn bù dé wéi fǎn dì yī dìng lǜ。
dì sān dìng lǜ héng héng jī qì rén yìng bǎo hù zì shēn de 'ān quán， dàn bù dé wéi fǎn dì yī、 dì 'èr dìng lǜ。
yóu yú běn piàn de gù shì xuán niàn lái zì gēn jù jī qì rén sān dà dìng lǜ de luó ji tuī yǎn， yīn cǐ bàn yǎn jǐng tàn de kē huàn diàn yǐng zhuān yè hù wēi 'ěr shǐ mì sī shuō：“ běn piàn gào sù wǒ men： jī qì rén bìng méi yòu wèn tí， jì shù yě bù shì wèn tí， rén lèi luó ji de jú xiàn cái shì zuì dà de wèn tí。 yīn cǐ， dào tóu lái wǒ men cái fā xiàn， rén lèi zuì dà de dí rén bù shì bié rén， zhèng shì rén lèi zì jǐ。”
yǐngpiān tè jì
duì zhè bù kē huàn tí cái lái shuō， diàn nǎo tè jì lǐ yìng shì běn piàn de zhùjué。 dǎo yǎn rèn wéi diàn yǐng de zhòng yào zuò yòng shì ràng dān chún de huàn xiǎng gèng fù zhēn shí xìng。 wèile dá dào zhè gè mùdì， tā jí hé liǎo yī gè jì suàn jī tè xiào de quán míng xīng zǔ hé， yóu zhì zuò diàn yǐng《 zhǐ huán wáng》 ér róng huò 'ào sī kǎ zuì jiā shì jué xiào guǒ jiǎng、 xiǎng yù quán qiú de xīn xī lán wéi tǎ gōng sī tuán duì zhí xíng zhì zuò， shí xiàn liǎo jī qì rén mó xíng、 chǎng jǐng shè jì hé shù zì xū nǐ xíng xiàng de wán měi jié hé， wèicǐ yī gòng pāi shè liǎo jìn 1000 gè tè xiào jìng tóu。 qí zhōng liàng diǎn xiǎn rán shì liú xiàn xíng、 zhōu shēn tòu míng fàn guāng de Ｎ Ｓ -5 xíng jī qì rén。 sāng ní chú liǎo yǎn jīng shì lán sè de yǐ wài， hé qí tā gāi xíng hào de jī qì rén méi qū bié， bù guò tā de xíng tǐ hé shēng yīn shì yóu zhuān mén de yǎn yuán jiā shàng lǜ mù jì shù jié hé diàn nǎo tè xiào lái zuò de。 qí yú de NS-5 jī qì rén shì cǎi yòng zuì xīn xíng de gǎi jìn lǜ mù jì shù wán chéng。 NS-5 gāo 180 lí mǐ， jù yòu 456 gè huó dòng líng jiàn， jīng yóu 12 wèi bó shì zǔ zhuāng wán chéng， róng diǎn liù qiān huá shì dù， kě fù zhòng 800 bàng， néng chéng shòu shù qiān bàng zhuàng jī , diàn zǐ zhì huì nǎo kě fù zhì rén lèi zì yóu yì zhì， jù yòu 1 Ｔ Ｂ（ 1000GB） nèi cún， měi miǎo néng zhí xíng 6M bǐ yǐ shàng yùn suàn， yōng yòu 80 zhǒng yǔ yán néng lì。 néng jì zhù suǒ yòu nǐ jì bù zhù de rèn hé nèi róng , cǎi yòng tǐ tiē xì xīn de tài lì suō 2.1.2 bǎn cāo zuò xì tǒng； ān zhuāng zài tóu gǔ nèi de shì yòu nài jiǔ tài jīn shǔ wàiqiào bǎo hù de zhì huì nǎo yǐ jí wàn néng jì yì wǎng lù（ UniversalRetentionNetwork）…… děng zhe zài yǐngpiān zhōng kàn kàn， 2035 nián， wǒ men měi sì gè rén jiāng yōng yòu de yī gè de jī qì rén tè xiào chǔlǐ shì fǒu néng rú tā de wén zì shuō míng bān zhēn shí kě xìn bā！
《 jī xiè gōng dí》 - mù hòu huā xù
piānzǐ kāi tóu， dāng shǐ pǔ nà dǎ kāi dà mén， yī gè tóu shàng xiě zhe 42 de jī qì rén zhàn zài tā mén qián de tái jiē shàng。 hěn duō kē huàn diàn yǐng dōuyòu 42 zhè gè hào mǎ， shì yīn wéi shòu dào liǎo dào gé lā sī . yà dāng sī de《 yín hé xì màn yóu zhǐ nán》 de yǐng xiǎng。 piānzǐ shòu dào de《 yín hé xì màn yóu zhǐ nán》 yǐng xiǎng de lìng yī gè lì zǐ， shǐ pǔ nà de wéi yī hǎo rì zǐ shì“ xīng qī sì”。 zài《 zhǐ nán》 zhōng， zhè shì zuò jiā dēng tè yī zhěng zhōu dāng zhōng“ cóng bù néng lǐ jiě……” de yī tiān。 zài gǔ dǒng jī qì rén chú chuāng lǐ， chén liè de shì suǒ ní gōng sī de jī qì gǒu 'ài bō AIBO。
piānzǐ lǐ wēi 'ěr shǐ mì sī kāi de chē shì yī kuǎn jiào zuò AudiRSQ de gài niàn chē， shì 'ào dí tè bié wéi běn piàn shè jì de， dǎo yǎn yà lì kè sī pǔ luó yà sī hái wéi chē de tè bié wài xíng shè jì tí gōng liǎo jiàn yì。 duì yú xián yí fàn jī qì rén sāng ní， jù zǔ cǎi yòng liǎo zài《 zhǐ huán wáng： shuāng tǎ qí bīng》 lǐ chuàng zào gē lún（ Gollum） de tóng yàng chǔlǐ fāng fǎ： yóu 'ài lún tú dài kè AlanTudyk wéi sāng ní tí gōng shēn tǐ dòng zuò hé shēng yīn。 wēi 'ěr shǐ mì sī zài běn piàn lǐ qí de mó tuō shì yī kuǎn 2004 nián de MVAgustaF4-SPR， quán qiú zǒng gòng zhǐ shēng chǎn liǎo 300 liàng。 jì shù cān shù： 750cc， nèi zhì 4 gāng yǐn qíng， 147 mǎ lì， néng tuī jìn dào shí sù chāo guò 175 yīng lǐ。
yǐngpiān zhōng dà duō shù de chē xíng shì yǐ 2004 nián qián de 'ào dí chē， bǐ rú A2、 A6 hé TT wéi mó xíng gǎi zào de， shèn zhì yòu xiē dōuméi yòu gǎi， zhí jiē jiù yòng liǎo。 lán níng bó shì de māo mǐ jiào“ ā xī mò fū”。 zài xì jù xìng de zhuī zhú chǎng miàn zhōng， dài 'ěr shǐ pǔ nà jǐng tàn duì yuē hàn bó jīn shàowèi shuō：“ wǒ yào kāi shǐ huái niàn guò qù de hǎo rì zǐ liǎo。” bó jīn huí dá：“ shénme guò qù hǎo rì zǐ？” shǐ pǔ nà jiù shuō：“ " nà shí hòu rén hái shì bèi qí tā rén shā sǐ de。” zài piānzǐ lǐ， zuì xiān tí chū zhè gè“ měi hǎo jiù shí guāng” de rén bìng fēi shì shǐ pǔ nà， zhèng shì bó jīn。
yǐngpiān zuì hòu， shǐ pǔ nà de nǎi nǎi qí dǎo de jù zǐ shì lái zì《 shèng jīng shī piān》 16： 8“ wǒ jiāng yé hé huá cháng bǎi zài wǒ miàn qián ． yīn tā zài wǒ yòu biān、 wǒ biàn bù zhì yáo dòng”。 sāng ní de yǎn jīng shì lán sè de， qí tā suǒ yòu de NS-5 xíng jī qì rén de yǎn jīng dōushì jīn sè de。 yuē hàn bó jīn shàowèi de tái cí：“ bù， lǎo shí shuō， rén chuàng zào guài wù， guài wù shā rén。 měi gè rén shā guài wù、 láng rén。” zhè duàn tái cí hé《 zhū luó jì gōng yuán》 lǐ de hěn xiāng sì： mǎ 'ěr kē
mǔ bó shì shuō“ shén chuàng zào kǒng lóng， shén huǐ miè kǒng lóng。 shén chuàng zào rén lèi， rén huǐ miè shén， rén lèi chuàng zào kǒng lóng……”
《 jī xiè gōng dí》 - yǐngpiān kàn diǎn
jī qì rén、 wēi 'ěr shǐ mì sī de diàn nǎo dà zuò zhàn
“ wǒ rèn wéi， wǒ men de dòng zuò diàn yǐng yǐ jīng zuò hǎo liǎo dá dào xīn de jì shù shuǐ píng de shí hòu。” hǎo lāi wù nán xīng wēi 'ěr shǐ mì sī（《 dú lì rì》、《 jué dì zhàn jǐng》） cǐ cì shēn jiān yǐngpiān zhí xíng zhì zuò rén， tā ráo yòu xīng qù dì shuō，“ nǐ de gù shì bì xū ràng rén gǎn xīng qù。 suǒ yòu de tè xiào hé bào zhà dū bì xū lái de chāo kù cái xíng。” yú shì wéi běn piàn quán lì tóu rù diàn nǎo xiào guǒ zhì zuò de shì sì jiè 'ào sī kǎ tè xiào dé jiǎng duì wǔ， tā men wéi piàn zhōng wú suǒ bù néng de jī qì lǎo xiōng men zhì zuò liǎo chāo guò 900 gè diàn nǎo dú lì tè xiào， yǐ shǐ dé xiào guǒ gèng jiā bī zhēn。 yòu rén shuō piàn zhōng bái sè tòu míng de jī qì rén wài xíng pō yòu lèi sì píng guǒ gōng sī（ Apple） chǎn pǐn fēng gé， shì shí shàng， zhì zuò rén pà tè lǐ kè jiù shì zài píng guǒ chǎn pǐn iMac zhōng zhǎo dào liǎo líng gǎn：“ dāng nǐ chuān guò wàiqiào kàn dào（ jī qì rén） gòu zào shí， tā men xiǎn dé jiù bù nà me kě pà liǎo”， pà tè lǐ kè xiào dào。
“ lǐng xián zhù yǎn” jī qì rén juésè suǒ ní de shí jì shàng shì zhēn rén yǎn yuán 'ài lún tú dài kè（《 shǎn bì qiú de qí jì》）。 wǒ men píng mù shàngjiàng kàn dào de jī qì rén biǎo yǎn， cǎi yòng liǎo hé《 zhǐ huán wáng sān》 lǐ guài wù gū lū de tóng yàng zhēn rén hé diàn nǎo jié hé de jì shù héng héng lǜ píng、 chuán gǎn qì、 dòng zuò bǔ zhuō hé wán měi de diàn nǎo hé chéng。“ zhè shì wǒ zuì bàng de juésè， jìn guǎn píng mù shàng méi rén kàn dé dào wǒ běn rén， bù guò juésè zài diàn yǐng zhōng de jīng lì duì wǒ lái shuō fēi cháng cì jī。” jī qì rén suǒ ní de yín mù biǎo xiàn yě jiāng chéng wéi běn piàn lìng rén guān zhù de jiāo diǎn。
jiù běn piàn de tè xiào shuǐ piàn 'ér yán， jǐn jǐn tí jí yǐ shàng shì yuǎn yuǎn bù gòu de。 sān wèi jīn pái tè xiào zhì zuò rén jiā shàng shù shí wèi tè xiào zhì zuò shī， yǐ jí xīn xī lán zhī míng de WETA（《 zhǐ huán wáng》 xì liè） de dǐng lì xié zhù，《 jī xiè gōng dí》 quán lì miáo huì chū yī gè 2035 nián de zhī jiā gē héng héng jī qì rén biàn bù， liú guāng bō lí jiē dào hé wèi lái jiàn zhù fán yì de wèi lái dū shì。 dàn wǒ men yě bù yòng dān xīn zhè jǐn shì yī bù chōng mǎn huā shào tè xiào de diàn yǐng， dǎo yǎn yà lì kè sī pǔ luó yà sī（《 yí hún dū shì》） biǎo shì，“ wǒ men bǎ gù shì hé qíng gǎn fàng dào dì yī wèi， rú cǐ diàn nǎo dòng huà jiāng tí gāo diàn yǐng xiào guǒ 'ér bù shì fēn sàn guān zhòng de zhù yì lì。”
shì shí shàng， běn piàn zài xù shì fāng fǎ shàng duō shǎo yòu diǎn《 shǎo shù pài bào gào》 de yǐng zǐ， dàn jié hé 'ā xī mò fū de jī qì rén sān dà dìng lǜ、 hǎo lāi wù zuì zhì shǒu kě rè de hēi rén yǐng xīng wēi 'ěr shǐ mì sī hái yòu“ xìng gǎn píng guǒ zào xíng” de jī qì rén zhè sān dà zuì xī yǐn de jué tóu，《 jī xiè gōng dí》 bì jiāng chéng wéi qī yuè piào fáng dà rè。 wèn tí zhǐ yòu yī gè： zhè bù yǐngpiān néng fǒu zuì zhōng chéng wéi xiàng《 zhōng jié zhě》 yī yàng de kē huàn jīng diǎn？
《 jī xiè gōng dí》 - yǎn yuán jiè shào
《 jī xiè gōng dí》 wēi 'ěr shǐ mì sī
wēi 'ěr shǐ mì sī
měi guó yǎn yuán， gāo zhōng bì yè hòu chī xīn yú gē chàng shì yè， suì jué dìng fàng qì shàng dà xué， zuò quán zhí de yì rén。 1989 nián shǒu cì huò dé gé lāi měi jiǎng“ zuì jiā ráo shé gē yǎn chàng jiǎng”。 jìn 'ér chéng wéi NBC diàn shì yǐng jí《 huó lì wáng zǐ》 (TheFreshPrinceofBelAir) de nán zhùjué。 zài yuètán huò dé jù dà chéng gōng zhī hòu， wēi 'ěr shǐ mì sī xiàng jǐ gè yǎn yì gōng sī de zhù guǎn biǎo shì liǎo tā duì yǎn xì de xīng qù， zhè qí zhōng bāo kuò huá nà zǒng cái bān ní méi dí nà。 méi dí nà shì zài luò shān jī chū shēng qióng kǔ dàn què zài luò shān jī dídí fù rén qū bèi fú lì shān zhuāng de yī gè fù rén jiā tíng dù guò liǎo tā de qīng shàonián shí qī。 tā dāng shí zhèng hǎo zài jìhuà gēn jù tā de qīn shēn jīng lì pāi yī bù diàn shì jù。 méi dí nà jué dé wēi 'ěr shǐ mì sī shì zhèng hǎo de rén xuǎn。 jù hǎo lāi wù nèi bù rén shì tòu lù， dāng nián wēi 'ěr shǐ mì sī zài shì jìng shí niàn jù běn niàn dé rú cǐ jīng cǎi， měi guó guó jiā guǎng bō diàn tái dāng chǎng pāi bǎn jué dìng shàng xì。 1990 nián，《 bèi lāi 'ěr de xīn xiān wáng zǐ》 kāi shǐ bō fàng， shēn shòu guǎng dà guān zhòng xǐ 'ài， yī bō jiù shì liù nián。
jìn guǎn wēi 'ěr shǐ mì sī kàn qǐ lái xiàng yī gè dà dà lie lie de xiǎo hùn hùn， qí shí tā chū shēn zhōng děng jiā tíng， fù qīn shì gōng chéng shī， mǔ qīn shì jiào yù jiè rén shì。 wēi 'ěr shǐ mì sī de shū dú dé gèng shì chū sè， dāng nián má shěng lǐ gōng xué yuàn gěi tā quán jiǎng ràng tā qù dú shū， dàn shì tā yīn wéi yào quán shēn xīn tóu rù yǎn yì jiè， bù dé bù jù jué。《 bèi lāi 'ěr de xīn xiān wáng zǐ》 de chéng gōng shǐ wēi 'ěr shǐ mì sī yǔ xǔ duō hǎo lāi wù de chū sè yǎn yuán jiàn lì qǐ liǎo qīn mì guān xì， zhè qí zhōng bāo kuò dà liàng hēi rén yǎn yuán， rú qióng sī， bǐ 'ěr kǎo cí bǐ， hú bǐ gē dé bǎo， yǐ jí dān zé 'ěr huá shèng dùn。
1993 nián yǐ zhùjué shēn fèn yuè dēng dà yín mù， zài yī bù fěng cì niǔ yuē zhī shí fènzǐ de wén yì piàn《 liù dù fēn lí》 zhī zhōng， bàn yǎn yī gè zì chēng shì hēi rén jù xīng bì ní bào dí 'ér zǐ de lǎo qiān。 1995 nián zhù yǎn jǐng fěi dòng zuò piàn《 jué dì zhàn jǐng》 biàn yī jǔ chéng míng，《 dú lì rì》、《 hēi chāo tè jǐng zǔ》 quán qiú piào fáng zòu jié hòu， shēn jià biāo dào diān fēng。 jìn jǐ nián jiē pāi liǎo xǔ duō mài zuò de dòng zuò piàn。
《 jī xiè gōng dí》 bù lǐ jí tè mò yī nà hǎn
bù lǐ jí tè mò yī nà hǎn
bù lì jī mù nà shì hǎo lāi wù mù qián chú liǎo jié mǐ lǐ kē dì sī hé xuē gē nī wéi fú zhī wài wéi shù bù duō kě yǐ shèng rèn gāo zhì shāng de qiáng yìng juésè 'ér wài xíng yòu bù shī yōu yǎ wǔ mèi de nǚ yǎn yuán zhī yī。 1970 nián shēng yú niǔ yuē de Binghamton， hé liǎng gè gē gē yī qǐ zài Longmeadow zhǎngdà， jiēguǒ tā yě rú tóng jiǎ xiǎo zǐ yī bān duō dòng， àihào gè zhǒng tǐ yù xiàng mù， gāo zhōng shì lán qiú duì duì cháng， xuǎn zé qù shàng gǎn lǎn qiú kè 'ér bù shì xì jù bān。 bù lì jī xiān shì dēng shàng shí shàng T tái bìng zhú jiàn xiǎo yòu míng qì， chū xiàn zài Glamour、 Vogue děng zhòng duō zhù míng zá zhì zhī shàng， zhī hòu yòu jìn rù liǎo niǔ yuē CaymichaelPattenStudio xué xí biǎo yǎn。 1999 nián， bù lì jī zuò wéi jiā bīn chū yǎn rè mén jù《 yù wàng dū shì》 zhōng de Natasha yī jiǎo， cì nián yǐngpiān《 nǚ láng jù lè bù》 zhōng tūn yún tù wù de jiǔ bā nǚ zhāo dài yī jiǎo gěi guān zhòng liú xià liǎo shēn kè yìn xiàng， jiē xià lái yòu chū xiàn zài liǎo yī xì liè bèi shòu guān zhù de rè mén yǐngpiān zhōng， bāo kuò《 dié hǎi jì zhòngjì》、《 zhàn zhēng zhī wáng》、《 wǒ， jī qì rén》 yǐ jí《 wán mìng jì yì》 děng děng， xì lù yě yù lái yù guǎng kuò。
bù lì jī de kē xué jiā fù qīn hòu lái chéng liǎo má shěng 'ā mò sī tè dà xué (UMass) de yī míng guǎn lǐ rén yuán， mǔ qīn de zhí yè shì jiào shī bìng qiě hái zài 2005 nián hé bù lì jī yī qǐ chū yǎn guò yī zé Bostonarea de diàn shì guǎng gào。 cǐ wài bù lì jī mù nà 2004 nián kāi shǐ hé xīn yīng gé lán 'ài guó zhě duì de míng xīng sì fēn wèi TomBrady yuē huì， dàn zài 2006 nián de gǎn 'ēn jié fēn shǒu， 07 nián bù lì jī yíng lái liǎo zì jǐ dì yī gè hái zǐ de jiàng shēng。
《 jī xiè gōng dí》 - chuān bāng jìng tóu
lián guàn xìng cuò wù：
lán níng bó shì de māo chū xiàn de jué dà duō shù chǎng jǐng， tā de yǎn jīng dōushì lán sè de。 dàn shì zài shǐ pǔ nà tiào guò pēn quán nà chǎng xì， māo de yǎn jīng biàn chéng huáng sè liǎo。 shǐ pǔ nà hé shàowèi zài jiǔ bā hē jiǔ， shàowèi jiǔ píng shàng miàn de shāng biāo， měi cì qiē huàn jìng tóu jiǎo dù yī cì， jiù biàn huà yī cì。 zài suì dào zhuī zhú xì hòu， shǐ pǔ nà qù jiǎn chá tā de jiǎo huái， kāi shǐ tā de tuǐ shì fēn kāi de， xià yī gè jìng tóu， tā de zuǒ tuǐ jiù dié fàng zài liǎo yòu jiǎo shàng。 dāng jiā 'ěr wén bó shì zǒu jìn tā de shí yàn shì qù wèn sāng ní shí， tā dé zǒu xià jǐ jí tái jiē。 shè xiàng jī cóng tā bèi hòu tuī jìn de shí hòu， kě yǐ kàn jiàn tā zǒu liǎo sì bù xià tái jiē， dàn shì， nà 'ér yī gòng jiù zhǐ yòu sān jí tái jiē。
bào lù cuò wù：
shǐ pǔ nà hé jiā 'ěr wén bó shì shì tú guān bì VIKI， jī qì rén xí jī tā men de nà chǎng xì， yī gè cháng jìng tóu pāi shè liǎo shǐ pǔ nà duì zhe tā shēn biān sì miàn shè jī bìng páo dòng。 zhè gè míng xiǎn shì CGI zuò de， yīn wéi yòu xiē shùn jiān kě yǐ kàn chū huà miàn lǐ tā de tóu gēn bó zǐ huò zhě shēn tǐ fēn kāi méi 'āi zhe。
《 jī xiè gōng dí》 - yǐngpiān diǎn píng
wèi lái， fā dá de gāo kē jì shè huì zhōng fā shēng de zú yǐ gǎi biàn rén lèi lì shǐ de wēi jī --《 jī xiè gōng dí》 de gù shì lán běn， zuì zǎo lái yuán yú biān jù jié fū wēn tǎ JeffVintar shí duō nián yǐ qián chuàng zuò de jù běn《 Hardwired》， tā jiǎng shù liǎo yī zhuāng shén mì de móu shā 'àn， ér jī qì rén kě néng cái shì mù hòu yuán xiōng。 zhì piàn rén láo lún sī mǎ kè LaurenceMark duì zhè gè gù shì xiāng dāng gǎn xīng qù， yǔ cǐ tóng shí， èr shí shì jì fú sī diàn yǐng gōng sī yī zhí xiǎng pāi yī bù yòu guān jī qì rén de dà xíng diàn yǐng， suì jiāng zhī liè rù chóu pāi rì chéng， bìng chū bù nǐ dìng yóu yà lì kè sī pǔ luó yà sī AlexProyas zhí dǎo。 2000 nián chū， jié fū wēn tǎ fēi fù 'ào zhōu kāi shǐ tóng dǎo yǎn pǔ luó yà sī jiù《 jī xiè gōng dí》 pāi piàn jìhuà jìn xíng gōu tōng， zhěng gè hé zuò 'àn zú zú huā liǎo liǎng nián duō。
kāi shǐ shí， gāi piàn bèi dìng wèi yú wèi lái bèi jǐng xià de móu shā jīng sǒng piàn， jiē xià lái tā men cháng shì jiāng gé jú fàng dà yǐ biàn yòu gèng duō kě fā huī de kōng jiān。 yīn wéi dǎo yǎn pǔ luó yà sī duì shì jué fēng gé dú dào qiě yōu yì de pǐn wèi， zhù chuàng rén yuán zuì zhōng dá chéng gòng shí， yào jiāng《 jī xiè gōng dí》 pāi chéng hóng dà bèi jǐng xià de shǐ shī hào jié， tā men de yě xīn cù shǐ gāi piàn bì xū yào zài shì jué tè xiào shàng lì zhēng yòu suǒ tū pò。
zài dāng shí， zhì piàn rén yuē hàn dài wéi sī JohnDavis míng xià de zhì piàn gōng sī ná dào liǎo《 jī xiè gōng dí》 de diàn yǐng bǎn quán， ér dǎo yǎn pǔ luó yà sī zài kē huàn dà shī 'ài sà kè ā xī mò fū IsaacAsimov de xiǎo shuō lǐ zhǎo dào liǎo jù běn yǐ wài de shì jué yuán sù， ā xī mò fū zuò pǐn zhōng de sī xiǎng hé rén wù hěn zì rán dì róng rù biān jù jié fū wēn tǎ de wèi lái móu shā 'àn jù běn。
《 jī xiè gōng dí》 - yī jù huà píng lùn
Whatwillyoudowithyours?
jī xiè gōng dí jī xiè gōng dí
Lawsaremadetobebroken
Onemansawitcoming.
qíng jié guò yú jiǎn dān 'ér lìng rén shī wàng， zhuī zhú hé dòng zuò chǎng miàn chōng chì zhe kē huàn diàn yǐng cháng guī làn yòng de CGI jì shù chǔlǐ。
héng héng zhī jiā gē tài yáng bào
fēi cháng shú liàn， dàn yě míng xiǎn ràng rén shī wàng， nào dú lì de jī qì rén hé liú máng jǐng chá zài yī xiē piàn duàn lǐ xiǎn dé nào hōng hōng de。
héng héng lún dūn shí bào
zhè bù gāo kē jì diàn yǐng， pāi de hǎo kàn dàn shì xiǎn dé zhì shāng bìng bù gāo。
héng héng guān chá jiā
zuò wéi duì rén gōng zhì néng jì shù de lún lǐ tàn suǒ， zhè bù diàn yǐng bǐ《 A.I.》 yào gèng qiān xùn、 gèng mí rén。
héng héng BBC diàn yǐng píng lùn
dòng zuò chǎng miàn shí fēn yǐn rén rù shèng。 suī rán bù néng suàn shì lì shǐ xìng tū pò， dàn tōng guò wǒ men zhè gè shí dài de shù zì jì shù， guān kàn jī qì rén duì dǎ de chǎng miàn zhuóshí lìng rén xīng fèn。
héng héng shì jué zhōu kān
《 jī xiè gōng dí》 - wán quán bān dǐ
wēi 'ěr · shǐ mì sī： guān fāng shǒu xuǎn
jù jǐ wèi zhì piàn rén kǒu jìng yī zhì de“ guān fāng” shuō fǎ， wēi 'ěr · shǐ mì sī shì zhì zuò fāng de shǒu xuǎn。 tóng shí， tā hái dá yìng zài gāi piàn zhōng dān rèn jiān zhì ( cǐ qián， tā céng wéi yóu luó bó tè · dé ní luó hé 'āi dí · mò fěi zhù yǎn de yǐngpiān《 zuò xiù shí kè》 (Showtime)。 dān rèn jiān zhì )， zhèng shì yóu yú wēi 'ěr de tuī jiàn，《 měi lì xīn líng》 de jīn jiǎng biān jù 'ā qí wǎ · gāo sī màn AkivaGoldsman yě dé yǐ jiā rù mù hòu zhèn róng。
jī xiè gōng dí jī xiè gōng dí
“《 jī xiè gōng dí》 zuì xī yǐn wǒ de shì， tā de zhōng xīn gài niàn shì jī qì rén méi yòu wèn tí， kē jì bìng bù shì wèn tí běn shēn， rén lèi luó ji de jí xiàn cái zhēn de shì wèn tí， ér zuì zhōng， wǒ men chéng wéi zì jǐ zuì dà de dí rén。” zhè shì wēi 'ěr · shǐ mì sī chū yǎn gāi piàn de zuì dà tǐ huì。
bù lǐ jí tè · mò yī nà hǎn： rè chén zhì shàng
yǐ jiù yǐn yòng guān fāng de shuō fǎ：“ tā néng gòu fēi cháng tiē qiē dì chuán dá wǒ men duì zhè gè juésè de shè jì， yě jiù shì zài jī qì rén bān bīng lěng de wài biǎo xià， què yòu zhe hěn rén xìng de rè chén。”
xiàngmào xiù lì de bù lǐ jí tè · mò yī nà hǎn cóng yǐngpiān《 mèi lì sì shè》 (CoyoteUgly) zhōng xùn sù jué qǐ。 zài rè mén jù jí《 yù wàng dū shì》 zhōng tā yě céng yòu shàng jiā biǎo xiàn。 yǐngpiān《 xīn shǒu》 (TheRecruit) zhōng tā yǔ 'ā 'ěr · pà xī nuò hé kē lín · fǎ ruì 'ěr yòu guò yú kuài de hé zuò。
dǎo yǎn： yà lì kè sī · pǔ luó yà sī
zhè wèi lái zì 'ào zhōu qiě kē bān chū shēn de dǎo yǎn， sù lái yǐ shàn cháng yíng zào chōng mǎn shén mì hé wèi lái gǎn de yǐngpiān 'ér wén míng。 1994 nián， tā píng yī bù gǎi biān zì tóng míng màn huà de《 wū yā》 (TheCrow) lìng shì rén suǒ zhī。 sì nián hòu， gèng shì yǐ nà bù《 yí hún dū shì》 (DarkCity) zhēng fú liǎo guān zhòng。 cǐ qián， tā hái zì biān zì dǎo liǎo qí dì yī bù miáo xiě xiàn shí shì jiè de qīng chūn piàn《 chē kù shí guāng》 (GarageDays)。
yà lì kè sī zì xiǎo biàn shì 'ā xī mò fū de zhōng shí dú zhě， tā yī zhí mèng xiǎng zhe néng pāi yī bù rú《 jī xiè gōng dí》 de yǐngpiān， zhè cì tā mèng xiǎng chéng zhēn liǎo。
NS-5 jī běn zī liào
gāo dù 180 gōng fēn， nài jiǔ tài jīn shǔ wàiqiào， jù 456 gè huó dòng líng jiàn， xū jīng yóu 12 wèi bó shì zǔ zhuāng wán chéng， róng diǎn huá shì liù qiān dù， kě fù zhòng 800 bàng， néng chéng shòu shù qiān bàng zhuàng jī。 diàn zǐ zhì huì nǎo kě fù zhì rén lèi zì yóu yì zhì， jù yòu 1TB nèi cún， měi miǎo néng zhí xíng 6 zhào bǐ yǐ shàng yùn suàn， yōng yòu 80 zhǒng yǔ yán néng lì。
kē huàn dà shī 'ā xī mò fū -- huàshídài de jī qì rén sān dà 'ān quán fǎ zé：
1. jī qì rén bù néng shāng hài rén lèi， huò zuò shì rén lèi shòu dào shāng hài 'ér xiù shǒu bàng guān。
2. chú fēi wéi bèi dì yī fǎ zé， jī qì rén bì xū fú cóng rén lèi de mìng lìng。
3. zài bù wéi bèi dì yī hé dì 'èr fǎ zé qián tí xià， jī qì rén bì xū bǎo hù zì jǐ。
《 wǒ， jī qì rén》（ I,Robot）， shì měi guó zuò jiā 'ài sà kè · ā xī mò fū chū bǎn yú 1950 nián de kē huàn
jī xiè gōng dí jī xiè gōng dí
xiǎo shuō duǎn piān jí， shōu lù 9 piān duǎn piān xiǎo shuō。 dà duō yuán zài yú 1940 nián dào 1950 nián jiān de měi guó《 chāo jí kē xué gù shì》（ SuperScienceStories） zá zhì hé《 jīng qí kē huàn xiǎo shuō》 zá zhì（ AstoundingScienceFiction）。 shū zhōng de duǎn piān gù shì gè zì dú lì， què yōng yòu gòng tóng de zhù tí， tàn tǎo rén lèi yǔ jī qì rén zhī jiān de dào dé wèn tí。 zhè xiē gù shì jié hé zhī hòu， kāi chuàng chū 'ā xī mò fū de jī qì rén hào hàn xū gòu lì shǐ。
chuàn lián qǐ zhè jǐ gè gù shì de líng hún rén wù， shì měi guó jī qì rén yǔ jī xiè rén gǔ fèn yòu xiàn gōng sī ( cháng jiǎn chēng wéi 「 měi guó jī qì rén gōng sī 」 )（ U.S.RobotsandMechanicalMen,Inc.） de jī qì rén xīn lǐ xué jiā sū shān · kǎi wén（ Dr.SusanCalvin） bó shì。 zài chū bǎn duǎn piān jí shí， ā xī mò fū jiè yóu wǎn nián kǎi wén jiē shòu zhuān fǎng， huí yì guò wǎng rú hé yùn yòng「 jī qì rén xīn lǐ xué」（ Robopsychology） gēn xíng wéi shī cháng jī qì rén de jiē chù。 zhù míng de「 jī qì rén sān dìng lǜ」 jiù shì zài zhè bù duǎn piān jí lǐ chū cì dēng chǎng。
xiǎng xiàng yī xià wèi lái， rú guǒ jī qì rén yòu liǎo zhù tǐ yì shí， tā men kě yǐ sī kǎo， kě yǐ jué cè， shèn zhì kě yǐ qiáo bù qǐ rén lèi（ nǐ men zhè xiē shǒu wú fù jī zhī lì、 yóu dàn bái zhì zǔ chéng、 měi tiān yào hūn shuì bā gè zhōng tóu de jiā huǒ……）， shì jiè jiāng huì biàn dé rú hé？
zǎo zài 1950 nián， ài xī mò fū jiù yǐ jīng shè xiǎng dào liǎo zhè xiē qíng jǐng， bìng qiě yǐ chāo yuè shí dài de sī wéi， chuàng jiàn chū hóng guān de wèi lái jī qì rén shì jiè。 yú shì， wěi dà de「 jī qì rén xué sān dà fǎ zé」 jiù cǐ dàn shēng， chéng wéi kē huàn jiè wú kě hàn dòng de tiě lǜ：
yī、 jī qì rén bù dé shāng hài rén lèi， huò xiù shǒu bàng guān zuò shì rén lèi shòu dào shāng hài。
èr、 chú fēi wéi bèi dì yī fǎ zé， jī qì rén bì xū fú cóng rén lèi de mìng lìng。
sān、 zài bù wéi bèi dì yī fǎ zé jí dì 'èr fǎ zé de qíng kuàng xià， jī qì rén bì xū bǎo hù zì jǐ。
yīn cǐ， jù dà de shuǐ xīng cǎi kuàng jī qì rén SPD13， yīn wéi sān dà fǎ zé de chōng tū 'ér zài yuán dì dǎzhuàn； xiǎo qiǎo kě 'ài de tài kōng zhàn zhù kòng jī qì rén QT1， bù jǐn wán quán qǔ dài rén de gōng zuò， shèn zhì hái kāi shǐ sī kǎo guān yú zào wù zhù de zhé xué wèn tí； jù shuō kě yǐ tòu shì xīn líng de jī qì rén RB34， jū rán dǒng dé yòng rén lèi de xīn lǐ， chuài mó shuō chū tā men xiǎng tīng de huà； ér xiǎng yào zài yī dà qún Nester10 hào jī qì rén zhōng， zhǎo chū yī gè yǐn cáng qí zhōng táo tuō zhě， jìng chéng wéi rén yǔ jī qì rén dà wán xīn lǐ yóu xì de zhàn chǎng……
ài xī mò fū bǐ xià de「 jī qì rén xīn lǐ xué jiā」 sū shān ˙ kǎi wén， qīn shēn tǐ yàn zhè xiē shì jiàn de yǎn jìn， yě jì xià liǎo 20 shì jì mò dào 21 shì jì zhōng de jī qì rén fā zhǎn shǐ ── cóng jiǎn dān de bǎo mǔ xíng jī qì rén， yī zhí dào quán shì jiè zhǐ yòu sì tái de chāo jí diàn nǎo。 suí zhe jī qì rén yuè lái yuè cōng míng， gōng néng yuè lái yuè qiáng dà， tā bù dé bù tàn dào：「 yī kāi shǐ jī qì rén hái bù huì shuō huà， dàn zuì hòu tā men què tǐng lì yú rén lèi yǔ huǐ miè zhī jiān……」
běn shū céng yú 2004 nián bèi gǎi biān wéi diàn yǐng《 jī xiè gōng dí》。 diàn yǐng zhǐ cóng shū zhōng yǐn yòng liǎo jī qì rén xué sān dà fǎ zé hé yī xiē rén míng， zhù tǐ nèi róng bìng wú zhí jiē xiāng guān； dàn shì cóng《 wǒ， jī qì rén》 xiǎo shuō zhōng， dú zhě kě yǐ zhǎo dào diàn yǐng de yuán shǐ chuàng yì jīng shén， bìng liǎo jiě sān dà fǎ zé de zhēn zhèng hán yì。
ài xī mò fū de kē huàn xiǎo shuō xiāng dāng jiǎn dān yì dú， gù shì jié gòu dōuhěn qīng chǔ， kě shuō shì fēi cháng dà zhòng huà de kē huàn zuò pǐn。 zài 20 shì jì kē huàn xiǎo shuō de xiě zuò fā zhǎn shǐ lǐ， ài xī mò fū yǔ kè lā kè、 hǎi lāi yīn qí míng， bèi yù wéi zuì wěi dà de「 sān jù tóu」。 ài xī mò fū wán chéng liǎo【 jī qì rén】、【 dì guó】、【 jī dì】 sān dà kē huàn xiǎo shuō xì liè， píng jià dū fēi cháng gāo， ér běn shū biàn shì【 jī qì rén】 xì liè lǐ dì yī běn， tóng shí yě shì zuì jīng cǎi de yī běn。 rú guǒ nǐ xiǎng rèn shí 'ài xī mò fū hé tā de kē huàn xiǎo shuō，《 wǒ， jī qì rén》 jué duì shì nǐ de shǒu xuǎn！
《 jī xiè gōng dí》 - yǐngpiān guān hòu gǎn
zài jī xiè gōng dí qián miàn de shí hòu， jī qì rén sāng ní shuō qǐ tā zuò liǎo yī gè mèng， zài mèng zhōng， yòu yī gè rén zhàn zài shā duī shàng， nà rén shì lǐng dǎo jī qì rén jiě fàng de lǐng dǎo zhě！ suǒ yǐ rén kāi shǐ de shí hòu dū yǐ wèishì wēi 'ěr · shǐ mì sī suǒ bàn yǎn de dài 'ěr。 shǐ pǔ nà！ dàn zài yǐngpiān jiù yào jié shù de zuì hòu nà yī gè jìng tóu lǐ， zhàn zài shā duī shàng de nà“ rén” què shì jī qì rén sāng ní！
dà jiādōu zhī dào， sāng ní yǐ jīng xué huì liǎo rén lèi de sī xiǎng！ méi yòu rén zhī dào tā zhàn zài shā duī shàng guān kàn zhe xià miàn zhè wú shù jī qì rén shí yòu shénme xiǎng fǎ！
dàn rú guǒ tā dāng shí yōng yòu yī gè zài rén lèi zhōng míng wéi“ zhēng fú” de niàn tóu hòu， huì bù huì fā shēng yī xiē suǒ yòu réndōu yì xiǎng bù dào de jié jú ní？
Several of the stories feature the character of Dr. Susan Calvin, chief robopsychologist at U.S. Robots and Mechanical Men, Inc., the major manufacturer of robots. Upon their publication in this collection, Asimov wrote a framing sequence presenting the stories as Calvin's reminiscences during an interview with her about her life's work, chiefly concerned with aberrant behaviour of robots, and the use of "robopsychology" to sort them out. The book also contains the short story in which Asimov's famous Three Laws of Robotics first appear. Other characters that appear in these short stories are Powell and Donovan, a field-testing team which locates flaws in USRMM's prototype models.
The collection's title is the same as a short story written by Eando Binder, but is not connected to it. Asimov wanted to call his collection Mind and Iron, and initially objected when the publisher changed the title.
Contents
* "Robbie"
* "Runaround"
* "Reason"
* "Catch that Rabbit"
* "Liar!"
* "Little Lost Robot"
* "Escape!"
* "Evidence"
* "The Evitable Conflict"
Publication history
Cover art for I, Robot featuring a scene from "Runaround".
* New York: Gnome Press, (Trade paperback "Armed Forces Edition", 1951)
* New York: Grosset & Dunlap, (hardcover, 1952)
* London: Grayson, (hardcover, 1952)
* British SF Book Club, (hardcover, 1954)
* New York: Signet Books, (mass market paperback, 1956)
* New York: Doubleday, (hardcover, 1963)
* London: Dobson, (hardcover, 1967)
* ISBN 0-449-23949-7 (mass market paperback, 1970)
* ISBN 0-345-31482-4 (mass market paperback, 1983)
* ISBN 0-606-17134-7 (prebound, 1991)
* ISBN 0-553-29438-5 (mass market paperback, 1991)
* ISBN 1-4014-0039-6 (e-book, 2001)
* ISBN 1-4014-0038-8 (e-book, 2001)
* ISBN 0-553-80370-0 (hardcover, 2004)
* ISBN 91-27-11227-6 (hardcover, 2005)
* ISBN 0-7857-7338-X (hardcover)
* ISBN 0-00-711963-1 (paperback, UK, new edition)
* ISBN 0-586-02532-4 (paperback, UK)
Film, TV and theatrical adaptations
At least three of the short stories from I, Robot have been adapted for television. The first was an 1962 episode of Out of this World hosted by Boris Karloff called "Little Lost Robot" with Maxine Audley as Susan Calvin. In the 1960s, two short stories from this collection were made into episodes of the television series Out of the Unknown: "The Prophet" (1967), based on "Reason"; and "Liar!" (1969). The 12th episode of the USSR science fiction TV series This Fantastic World, filmed in 1987 and entitled Don't Joke with Robots was based on works by Aleksandr Belyaev, Fredrik Kilander and Asimov's "Liar!" story.
In the late 1970s, Warner Brothers acquired the option to make a film based on the book, but no screenplay was ever accepted. The most notable attempt was one by Harlan Ellison, who collaborated with Asimov himself to create a version which captured the spirit of the original. Asimov is quoted as saying that this screenplay would lead to "the first really adult, complex, worthwhile science fiction movie ever made."
Ellison's script builds a framework around Asimov's short stories that involves a reporter named Robert Bratenahl tracking down information about Susan Calvin's alleged former lover Stephen Byerly. Asimov's stories are presented as flashbacks that differ from the originals in their stronger emphasis on Calvin's character. Ellison placed Calvin into stories in which she did not originally appear and fleshed out her character's role in ones where she did. In constructing the script as a series of flashbacks that focused on character development rather than action, Ellison used the film Citizen Kane as a role model.
Although acclaimed by critics, the screenplay is generally considered to have been unfilmable based upon the technology and average film budgets of the time. Asimov also believed that the film may have been scrapped because of a conflict between Ellison and the producers: when the producers suggested changes in the script, instead of being diplomatic as advised by Asimov, Ellison "reacted violently" and offended the producers. The script eventually appeared in book form under the title I, Robot: The Illustrated Screenplay, in 1994 (reprinted 2004, ISBN 1-4165-0600-4).
"I, Robot" is the title of an episode of the original The Outer Limits television show. The episode, based on the Eando Binder short story, first aired on 14 November 1964, during the second season. It was remade under the same title in 1995.
The film I, Robot, starring Will Smith, was released by Twentieth Century Fox on July 16, 2004 in the United States. Its plot is not based on any one story in the collection but does incorporate elements of "Little Lost Robot" and other stories, and uses many of Asimov's characters and ideas about robots, including the Three Laws.
Influence
In 2004 The Saturday Evening Post said that I, Robot's Three Laws "revolutionized the science fiction genre and made robots far more interesting than they ever had been before." I, Robot has influenced many aspects of modern popular culture, particularly with respect to science fiction and technology. One example of this is in the technology industry. The name of the real-life modem manufacturer named U.S. Robotics was directly inspired by I, Robot. The name is taken from the name of a robot manufacturer ("United States Robots and Mechanical Men") that appears throughout Asimov's robot short stories.
Many works in the field of science fiction have also paid homage to Asimov's collection. The animated science fiction/comedy Futurama makes several references to I, Robot. The title of the episode "I, Roommate" is a spoof on I, Robot although the plot of the episode has little to do with the original stories. Additionally, the episode "The Cyber House Rules" included an optician named "Eye Robot" and the episode "Anthology of Interest II" included a segment called "I, Meatbag."[citation needed] Also in "Bender's Game" the psychiatric doctor is shown a logical fallacy and explodes when the assistant shouts "Liar!" a la "Liar!" . And an episode of the original Star Trek series, "I, Mudd" which depicts a planet of androids in need of humans references "I, Robot." Another reference appears in the title of a Star Trek: The Next Generation episode, "I, Borg". in which Geordi La Forge befriends a lost member of the Borg collective and teaches it a sense of individuality and free will.
The Positronic brain, which Asimov named his robots' central processors, is what powers Data from Star Trek: The Next Generation, as well as other Soong type Androids. Positronic brains have been referenced in a number of other television shows including Doctor Who, Once Upon a Time... Space, Perry Rhodan, The Number of the Beast, and others.
Author Cory Doctorow has written a story called "I, Robot" as homage to Asimov, as well as "I row-boat", both released in the short-story collection Overclocked: Stories of the Future Present. He has also said, "If I return to this theme, it will be with a story about uplifted cheese sandwiches, called 'I, Rarebit.'".
Other cultural references to the book are less directly related to science fiction and technology. The 1977 album I Robot, by The Alan Parsons Project, was inspired by Asimov's I, Robot. In its original conception, the album was to follow the themes and concepts presented in the short story collection. The Alan Parsons Project were not able to obtain the rights, so the album's concept was altered slightly (although the name was kept). The 2002 electronica album by experimental artist Edman Goodrich (known, at times, to operate under the aliases of "je, le roi!" and "The Ghost Quartet") shares the title of I, Robot, and is heavily influenced by Asimovian themes. The 2009 album, I, Human, by Singaporean band Deus Ex Machina draws heavily upon Asimov's principles on robotics and applies it to the concept of cloning. The satirical newspaper The Onion published an article entitled "I, Rowboat" in which an anthropomorphized rowboat gives a speech parodying much of the angst experienced by robots in Asimov's fiction, including a statement of the "Three Laws of Rowboatics."
The name of the movie itself is taken from Robert Graves' book I, Claudius.
1996《 wǒ cóng wài xīng lái》（ yòu míng《 wèi， yòu rén zài má？》）（ Hello?IsAnybodyThere?）
yī sōu tài kōng chuán chuān yuè guǎng mào de yín hé， xiàng zhe yī kē lán lán lǜ lǜ de xīng qiú yī dì qiú qián jìn。 lái zì 'ài 'ěr qiáo xīng de nán hái mǐ jiā dǎ kāi cāng mén， duì zhe yè kōng dà hǎn：“ wèi， yòu rén zài má？”《 wèi， yòu rén zài má？》 shì qiáo sī tǎn . jiǎ dé jì《 sū fěi de shì jiè》、 〈 zhǐ pái de mì mì 〉 zhī hòu tuī chū de zuì xīn lì zuò。 gù shì chǎng jǐng cóng xī fāng zhé xué de yuán xiāng 'ōu zhōu dà lù yán zhǎn zhì wú yín de wài dá kōng， xù shù xiǎo nán hái qiáo jīn hé wài xīng rén mǐ jiā de dì sān lèi jiē chù qí yù。〈 sū fěi de shì jiè〉 tí chū liǎo“ nǐ shì shuí？”、“ shì jiè cóng nǎ lǐ lái？” děng wèn tí：〈 wèi， yòu rén zài má？〉 wèn de shì“ wǒ men shì shuí？”、“ wǒ men cóng nǎ lǐ lái”？ kě yǐ shuō shì yī běn“ xiǎo sū fěi”。 zuò zhě tòu guò shēn rù qiǎn chū de tóng huà xíng shì， ràng qí yù zhī mí hé zhé xué zhù tí bù duàn dì pèng zhuàng， chuān tòu mèng jìng hé xiàn shí， jí jù mèng huàn xiě shí qù wèi， yě zhǎn xiàn chū yī gè zhì wéi huī hóng de dì qiú guān hé yǔ zhòu guān。
yī sōu tài kōng chuán chuān yuè guǎng mào de yín hé， xiàng zhe yī kē lán lán lǜ lǜ de xīng qiú yī dì qiú qián jìn。 lái zì 'ài 'ěr qiáo xīng de nán hái mǐ jiā dǎ kāi cāng mén， duì zhe yè kōng dà hǎn：“ wèi， yòu rén zài má？”《 wèi， yòu rén zài má？》 shì qiáo sī tǎn . jiǎ dé jì《 sū fěi de shì jiè》、 〈 zhǐ pái de mì mì 〉 zhī hòu tuī chū de zuì xīn lì zuò。 gù shì chǎng jǐng cóng xī fāng zhé xué de yuán xiāng 'ōu zhōu dà lù yán zhǎn zhì wú yín de wài dá kōng， xù shù xiǎo nán hái qiáo jīn hé wài xīng rén mǐ jiā de dì sān lèi jiē chù qí yù。〈 sū fěi de shì jiè〉 tí chū liǎo“ nǐ shì shuí？”、“ shì jiè cóng nǎ lǐ lái？” děng wèn tí：〈 wèi， yòu rén zài má？〉 wèn de shì“ wǒ men shì shuí？”、“ wǒ men cóng nǎ lǐ lái”？ kě yǐ shuō shì yī běn“ xiǎo sū fěi”。 zuò zhě tòu guò shēn rù qiǎn chū de tóng huà xíng shì， ràng qí yù zhī mí hé zhé xué zhù tí bù duàn dì pèng zhuàng， chuān tòu mèng jìng hé xiàn shí， jí jù mèng huàn xiě shí qù wèi， yě zhǎn xiàn chū yī gè zhì wéi huī hóng de dì qiú guān hé yǔ zhòu guān。
rú lè · fán 'ěr nà（ JulesVerne， 1828 nián 2 yuè 8 rì － 1905 nián 3 yuè 24 rì）， fǎ guó xiǎo shuō jiā、 bó wù xué jiā， xiàn dài kē huàn xiǎo shuō de zhòng yào kāi chuàng zhě zhī yī。 tā yī shēng xiě liǎo liù shí duō bù dà dà xiǎo xiǎo de kē huàn xiǎo shuō， zǒng tí wéi《 zài yǐ zhī hé wèi zhī de shì jiè màn yóu》。 tā yǐ qí dà liàng zhù zuò hé tū chū gòng xiàn， bèi yù wéi“ kē huàn xiǎo shuō zhī fù”。 yóu yú fán 'ěr nà zhī shí fēi cháng fēng fù， tā xiǎo shuō zuò pǐn de zhù shù、 miáo xiě duō yòu kē xué gēn jù， suǒ yǐ dāng shí tā xiǎo shuō de huàn xiǎng， rú jīn chéng wéi liǎo yòu qù de yù yán。
rú lè · fán 'ěr nà shì gēn jù JulesVerne fǎ yǔ fā yīn de zhōng wén yì míng， JulesGabrielVerne de míng zì yě céng bèi yì wéi“ xiāo lǔ shì”、“ wēi nán”、“ jiāo tǔ wēi nú” hé“ chá lǐ shì · péi lún”。
fán 'ěr nà - shēng píng
rú lè · jiā bù lǐ 'āi 'ěr · fán 'ěr nà（ JulesGabrielVerne） yú 1828 nián 2 yuè 8 rì， shēng yú fǎ guó nán tè。 tā de jiā zú yòu háng hǎi chuán tǒng， zhè yī diǎn shēn shēn dì yǐng xiǎng liǎo tā rì hòu de xiě zuò。 tóng nián shí qī， tā céng sī zì chū zǒu dào yī sōu shāng chuán shàng， qǐ tú suí chuán chū hǎi， dàn bèi fā xiàn sòng hái fù mǔ， cóng cǐ gèng bèi yán kānguǎn； tā wèicǐ xiàng fù mǔ bǎo zhèng yǐ hòu zhǐ“ tǎng zài chuáng shàng zài huàn xiǎng zhōng lǚ xíng”。
1847 nián， tā bèi sòng dào bā lí xué xí fǎ lǜ。 dàn fán huá de bā lí què jī fā liǎo tā duì xì jù de kuáng rè。 1850 nián mò， tā de dì yī bù jù zuò fā biǎo liǎo。 fán 'ěr nà de fù qīn dé zhī 'ér zǐ wú yì jì xù gōng dú fǎ lǜ hòu dà fā léi tíng， jué dìng duàn jué jīng jì yuán zhù。 cóng cǐ， nián qīng de fán 'ěr nà bù dé bù kào xiě zuò lái zuàn qián， wéi chí shēng jì。
zài bā lí tú shū guǎn huā fèi liǎo xiāng dāng shí jiān zuānyán dì lǐ、 gōng chéng hé háng tiān děng kē xué hòu， fán 'ěr nà wán chéng liǎo tā de dì yī bù xiǎo shuō《 qì qiú shàng de wǔ xīng qī》（ Cinqsemainesenballon， 1863）。 dàn tā shì tú chū bǎn zhè běn shū de guò chéng bìng bù shùn lì héng héng lián xù 16 jiā chū bǎn shè jù jué liǎo fán 'ěr nà， lǚ zhàn lǚ bài de fán 'ěr nà yī qì zhī xià bǎ shū gǎo tóu rù huǒ zhōng， dàn tā de qī zǐ bǎ shū gǎo qiǎng jiù chū lái； xìng yùn de shì， dì 17 jiā chū bǎn shè zhōng yú tóng yì chū bǎn běn shū。 suí hòu， tā yòu hěn kuài kāi shǐ xiě zuò hòu lái chéng wéi zǎo qī kē huàn xiǎo shuō jīng diǎn de zuò pǐn：《 dì xīn yóu jì》（ Voyageaucentredelaterre， 1864）、《 cóng dì qiú dào yuè qiú》（ Delaterreàlalune， 1866） hé《 hǎi dǐ liǎng wàn lǐ》（ 20,000lieuessouslesmers， 1873）
xiǎo shuō dà huò chéng gōng， chéng liǎo chàng xiāo shū， zài 'ōu zhōu dà shòu huān yíng。 fán 'ěr nà yě chéng liǎo yī wèi fù wēng。 1876 nián， tā gòu zhì liǎo yī sōu dà yóu tǐng， kāi shǐ huán yóu 'ōu zhōu。 tā de zuì hòu yī bù xiǎo shuō shì 1905 nián chū bǎn de《 dà hǎi de rù qīn》（ L'invasiondelamer）。
jiào huáng lì 'ào shí sān shì 1884 nián jiē jiàn tā shí céng duì tā shuō“ wǒ bìng bù shì bù zhī dào nín de zuò pǐn de kē xué jià zhí， dàn wǒ zuì zhēn zhòng de què shì tā men de chún jié、 dào dé jià zhí hé jīng shén lì liàng。”
rú lè · fán 'ěr nà yú 1905 nián 3 yuè 24 rì shī qù zhī jué， 25 rì qīng chén 8 shí qù shì。
fán 'ěr nà - chuàng zuò zhī lù
1828 nián 2 yuè 8 rì， fán 'ěr nà shēng yú nán tè， 1848 nián fù bā lí xué xí fǎ lǜ， xiě guò duǎn piān xiǎo shuō hé jù běn。
1863 nián qǐ， tā kāi shǐ fā biǎo kē xué huàn xiǎng mào xiǎn xiǎo shuō， yǐ zǒng míng chēng wéi《 zài yǐ zhī hé wèi zhī de shì jiè zhōng qí yì de màn yóu》 yī jǔ chéng míng。 dài biǎo zuò wéi sān bù qū《 gé lán tè chuán cháng de 'ér nǚ》《 hǎi dǐ liǎng wàn lǐ》《 shén mì dǎo》。
fán 'ěr nà zǒng gòng chuàng zuò liǎo liù shí liù bù cháng piān xiǎo shuō huò duǎn piān xiǎo shuō jí， hái yòu jǐ gè jù běn， yī cè《 fǎ guó dì lǐ》 hé yī bù liù juàn běn de《 wěi dà de lǚ xíng jiā hé wěi dà de lǚ xíng shǐ》。 zhù yào zuò pǐn hái yòu《 qì qiú shàng de wǔ xīng qī》 .《 dì xīn yóu jì》 .《 jī qì dǎo》 .《 piào shì de bàn dǎo》 .《 bā shí tiān huán yóu dì qiú》 děng 20 duō bù cháng piān kē huàn lì xiǎn xiǎo shuō。
fán 'ěr nà - zuò pǐn tè diǎn
zhù yào zuò pǐn chū bǎn yú 19 shì jì mò， qí kē huàn xiǎo shuō zhōng de xǔ duō shè xiǎng hé miáo shù zài 20 shì jì chéng wéi liǎo xiàn shí， suǒ yǐ tā de yī xiē zuò pǐn xiàn zài ràng rén dú qǐ lái gǎn jué bìng bù“ tiān mǎ xíng kōng”。 qí zhōng zuì zhù míng de mò guò yú zài《 hǎi dǐ liǎng wàn lǐ》 zhōng ní mò（ Nemo， zhè gè míng zì zài lā dīng wén zhōng yòu“ wú rén” de yì sī） chuán cháng de jù xíng qián shuǐ tǐng“ yīng wǔ luó hào”（ Nautilus， guò qù yòu de zhōng wén bǎn zhōng céng 'àn qí fā yīn yì wéi“ nuò dì liú sī hào”）。 měi guó jiàn zào de shì jiè dì yī sōu hé dòng lì qián tǐng yīng wǔ luó hào（ USSNautilusSSN-571， 1954 nián xià shuǐ） suī rán míng chéng zì yī sōu 1803 nián shí de měi guó hǎi jūn duō wéi zòng fān chuán（ Schooner） yǔ zhī hòu xí míng de liǎng sōu chuán tǒng dòng lì qián tǐng， dàn yóu yú hé dòng lì qián tǐng yōng yòu rú xiǎo shuō zhōng xū gòu de yīng wǔ luó hào bān chāo cháng de xù háng lì， yīn cǐ shǐ yòng cǐ mìng míng duō shǎo dài yòu yǐng shè xiǎo shuō zhōng zhī yīng wǔ luó hào de shuāng guān yì wèi。 fǎ guó de wú rén jià shǐ jī qì rén qián shuǐ tǐng yě yǐ cǐ mìng míng。 cǐ wài，《 cóng dì qiú dào yuè qiú》 dāng zhōng， gē lún bǐ yà hào fēi chuán（ huò shuō shì pào dàn） de fā shè dì diǎn zài měi guó fó luó lǐ dá zhōu de tǎn pà， jìng rán yǔ kǎ nà wéi lā 'ěr jiǎo（ kěn ní dí háng tiān zhōng xīn suǒ zài dì） jīhū wèi yú tóng yī wěi dù xiàn shàng， liǎng dì zhī jiān zhí xiàn jù lí jǐn 120 yīng lǐ， qián zhě zuò luò zài fó luó lǐ dá bàn dǎo de xī hǎi 'àn， hòu zhě zài dōng hǎi 'àn。
fán 'ěr nà - zhù yào zuò pǐn
fán 'ěr nà de zuò pǐn《 bā shí rì huán yóu shì jiè》 fán 'ěr nà de zuò pǐn《 bā shí rì huán yóu shì jiè》
sān bù qū
《 gé lán tè chuán cháng de 'ér nǚ》（ 1956 nián， zhōng guó qīng nián chū bǎn shè）。
《 hǎi dǐ liǎng wàn lǐ》
《 shén mì dǎo》（ 1958 nián， zhōng guó qīng nián chū bǎn shè）。
tàn yuè liǎng bù qū
《 cóng dì qiú dào yuè qiú》， yòu míng《 yuè jiè lǚ xíng》。
《 huán rào yuè qiú》
tàn xiǎn
《 bā shí rì huán yóu shì jiè》
《 qì qiú shàng de wǔ xīng qī》
《 zhēng fú zhě luó bǐ 'ěr》
《 tài yáng xì lì xiǎn jì》
《 dì xīn yóu jì》， yòu míng《 dì dǐ lǚ xíng》。
《 liǎng nián jiàqī ( shí wǔ shàonián piào liú jì )》
mín zú dú lì hé gé mìng
《 sāng dào fū bó jué》
《 fēng huǒ dǎo》
《 duō nǎo hé lǐng háng yuán》
qí tā
《 piào shì de bàn dǎo》
《 shí wǔ suì de chuán cháng》
《 jī qì dǎo》
《 yǐn shēn xīn niàn》
《 áng tī fěi 'ěr qí yù jì》
《 yìn dù guì fù de wǔ yì fǎ láng》
zì 20 shì jì yǐ lái， fán 'ěr nà de duō bù zuò pǐn céng bù zhǐ yī cì dì bèi bān shàng guò dà píng mù， bǐ rú《 gé lán tè chuán cháng de 'ér nǚ》（ 1936 nián， yóu qián sū lián pāi shè），《 hǎi dǐ liǎng wàn lǐ》（ 1954 nián diàn yǐng， 1997 nián diàn shì chóngpāi），《 dì xīn yóu jì》（ 1959 nián），《 huán yóu shì jiè bā shí tiān》（ 2004 nián）。 gǎi biān zì fán 'ěr nà de《 dì xīn yóu jì》 yǐ yú 2008 nián chóngxīn yǐ lì tǐ diàn nǎo tè jì bān shàng píng mù， gāi piàn míng wéi《 dì xīn mào xiǎn》， yóu《 shén guǐ chuán qí》 nánjué bù lán dēng · fèi xuě zhù yǎn， yú 8 yuè 14 rì shàng yìng。
fán 'ěr nà - yí zuò
fán 'ěr nà sǐ hòu， qí yí zhù jīng zhěng lǐ chū bǎn de jì yòu：
1905 nián：《 shì jiè jìn tóu de dēng tǎ》（ jiào yù shè）
1908 nián：《 jīn huǒ shān》（ jiào yù shè， cǐ shū qián shí sì zhāng xì rú lè · fán 'ěr nà suǒ xiě， hòu sì zhāng xì qí zǐ mǐ xiē 'ěr bǔ xiě。）
1907 nián：《 tānɡ mǔ shēng gōng sī fēn xíng》（ jù P． gòng duō luó · dé lā · lǐ wá kǎo zhèng， cǐ shū dà gāng qíng jié xì rú lè · fán 'ěr nà nǐ jiù， yóu qí zǐ xiě chéng。）
1908 nián：《 liú xīng zhuī zhú jì》（ cǐ shū qián shí qī zhāng wéi rú lè · fán 'ěr nà suǒ xiě， hòu sì zhāng xì qí zǐ mǐ xiē 'ěr xù chéng。）《 duō nǎo hé de lǐng háng yuán》
1909 nián：《 róu nà dāng de hǎi shàng yùnàn zhě》
1910 nián：《 wēi lián · sī tuō lǐ cí de mì mì》（ xiǎo shuō jié jú céng jiā rùn sè）《 yǒng héng de yà dāng》《 zuó tiān hé míng tiān》（ zhōng duǎn piān xiǎo shuō jí， qí zhōng bāo kuò《 lā dōng yī jiā rén《 shēng bàn mǐ yīn xiān shēng hé jiàng bàn yīn mǐ xiǎo jiě》、《 ràng · mó róng nà de mìng yùn》、《 hóng bǎo》、《 zài 'èr shí shì jì》、《 2889 nián yī gè měi guó xīn wén jì zhě de yī tiān》、《 yǒng héng de yà dāng》。）
1914 nián：《 bā shā kè zhǎnglǎo huì de jīng rén qí yù》
fán 'ěr nà - lǔ xùn de zhōng wén yì běn
lǔ xùn xiān shēng céng zài xīn hài gé mìng zhī qián jiù gēn jù dāng shí zài rì běn yǐ bèi yì chéng rì yǔ de yì zuò（ qí xiān yóu fǎ yǔ yì chéng yīng yǔ zài yì rì yǔ）， fān yì liǎo JulesGabrielVerne de liǎng bù zhù míng zuò pǐn：
《 yuè jiè lǚ xíng》（ 1903 nián 10 yuè， jìn huà shè）
《 dì dǐ lǚ xíng》（ 1906 nián 3 yuè， qǐ xīn shū jú）
rú lè · fán 'ěr nà shì gēn jù JulesVerne fǎ yǔ fā yīn de zhōng wén yì míng， JulesGabrielVerne de míng zì yě céng bèi yì wéi“ xiāo lǔ shì”、“ wēi nán”、“ jiāo tǔ wēi nú” hé“ chá lǐ shì · péi lún”。
fán 'ěr nà - shēng píng
rú lè · jiā bù lǐ 'āi 'ěr · fán 'ěr nà（ JulesGabrielVerne） yú 1828 nián 2 yuè 8 rì， shēng yú fǎ guó nán tè。 tā de jiā zú yòu háng hǎi chuán tǒng， zhè yī diǎn shēn shēn dì yǐng xiǎng liǎo tā rì hòu de xiě zuò。 tóng nián shí qī， tā céng sī zì chū zǒu dào yī sōu shāng chuán shàng， qǐ tú suí chuán chū hǎi， dàn bèi fā xiàn sòng hái fù mǔ， cóng cǐ gèng bèi yán kānguǎn； tā wèicǐ xiàng fù mǔ bǎo zhèng yǐ hòu zhǐ“ tǎng zài chuáng shàng zài huàn xiǎng zhōng lǚ xíng”。
1847 nián， tā bèi sòng dào bā lí xué xí fǎ lǜ。 dàn fán huá de bā lí què jī fā liǎo tā duì xì jù de kuáng rè。 1850 nián mò， tā de dì yī bù jù zuò fā biǎo liǎo。 fán 'ěr nà de fù qīn dé zhī 'ér zǐ wú yì jì xù gōng dú fǎ lǜ hòu dà fā léi tíng， jué dìng duàn jué jīng jì yuán zhù。 cóng cǐ， nián qīng de fán 'ěr nà bù dé bù kào xiě zuò lái zuàn qián， wéi chí shēng jì。
zài bā lí tú shū guǎn huā fèi liǎo xiāng dāng shí jiān zuānyán dì lǐ、 gōng chéng hé háng tiān děng kē xué hòu， fán 'ěr nà wán chéng liǎo tā de dì yī bù xiǎo shuō《 qì qiú shàng de wǔ xīng qī》（ Cinqsemainesenballon， 1863）。 dàn tā shì tú chū bǎn zhè běn shū de guò chéng bìng bù shùn lì héng héng lián xù 16 jiā chū bǎn shè jù jué liǎo fán 'ěr nà， lǚ zhàn lǚ bài de fán 'ěr nà yī qì zhī xià bǎ shū gǎo tóu rù huǒ zhōng， dàn tā de qī zǐ bǎ shū gǎo qiǎng jiù chū lái； xìng yùn de shì， dì 17 jiā chū bǎn shè zhōng yú tóng yì chū bǎn běn shū。 suí hòu， tā yòu hěn kuài kāi shǐ xiě zuò hòu lái chéng wéi zǎo qī kē huàn xiǎo shuō jīng diǎn de zuò pǐn：《 dì xīn yóu jì》（ Voyageaucentredelaterre， 1864）、《 cóng dì qiú dào yuè qiú》（ Delaterreàlalune， 1866） hé《 hǎi dǐ liǎng wàn lǐ》（ 20,000lieuessouslesmers， 1873）
xiǎo shuō dà huò chéng gōng， chéng liǎo chàng xiāo shū， zài 'ōu zhōu dà shòu huān yíng。 fán 'ěr nà yě chéng liǎo yī wèi fù wēng。 1876 nián， tā gòu zhì liǎo yī sōu dà yóu tǐng， kāi shǐ huán yóu 'ōu zhōu。 tā de zuì hòu yī bù xiǎo shuō shì 1905 nián chū bǎn de《 dà hǎi de rù qīn》（ L'invasiondelamer）。
jiào huáng lì 'ào shí sān shì 1884 nián jiē jiàn tā shí céng duì tā shuō“ wǒ bìng bù shì bù zhī dào nín de zuò pǐn de kē xué jià zhí， dàn wǒ zuì zhēn zhòng de què shì tā men de chún jié、 dào dé jià zhí hé jīng shén lì liàng。”
rú lè · fán 'ěr nà yú 1905 nián 3 yuè 24 rì shī qù zhī jué， 25 rì qīng chén 8 shí qù shì。
fán 'ěr nà - chuàng zuò zhī lù
1828 nián 2 yuè 8 rì， fán 'ěr nà shēng yú nán tè， 1848 nián fù bā lí xué xí fǎ lǜ， xiě guò duǎn piān xiǎo shuō hé jù běn。
1863 nián qǐ， tā kāi shǐ fā biǎo kē xué huàn xiǎng mào xiǎn xiǎo shuō， yǐ zǒng míng chēng wéi《 zài yǐ zhī hé wèi zhī de shì jiè zhōng qí yì de màn yóu》 yī jǔ chéng míng。 dài biǎo zuò wéi sān bù qū《 gé lán tè chuán cháng de 'ér nǚ》《 hǎi dǐ liǎng wàn lǐ》《 shén mì dǎo》。
fán 'ěr nà zǒng gòng chuàng zuò liǎo liù shí liù bù cháng piān xiǎo shuō huò duǎn piān xiǎo shuō jí， hái yòu jǐ gè jù běn， yī cè《 fǎ guó dì lǐ》 hé yī bù liù juàn běn de《 wěi dà de lǚ xíng jiā hé wěi dà de lǚ xíng shǐ》。 zhù yào zuò pǐn hái yòu《 qì qiú shàng de wǔ xīng qī》 .《 dì xīn yóu jì》 .《 jī qì dǎo》 .《 piào shì de bàn dǎo》 .《 bā shí tiān huán yóu dì qiú》 děng 20 duō bù cháng piān kē huàn lì xiǎn xiǎo shuō。
fán 'ěr nà - zuò pǐn tè diǎn
zhù yào zuò pǐn chū bǎn yú 19 shì jì mò， qí kē huàn xiǎo shuō zhōng de xǔ duō shè xiǎng hé miáo shù zài 20 shì jì chéng wéi liǎo xiàn shí， suǒ yǐ tā de yī xiē zuò pǐn xiàn zài ràng rén dú qǐ lái gǎn jué bìng bù“ tiān mǎ xíng kōng”。 qí zhōng zuì zhù míng de mò guò yú zài《 hǎi dǐ liǎng wàn lǐ》 zhōng ní mò（ Nemo， zhè gè míng zì zài lā dīng wén zhōng yòu“ wú rén” de yì sī） chuán cháng de jù xíng qián shuǐ tǐng“ yīng wǔ luó hào”（ Nautilus， guò qù yòu de zhōng wén bǎn zhōng céng 'àn qí fā yīn yì wéi“ nuò dì liú sī hào”）。 měi guó jiàn zào de shì jiè dì yī sōu hé dòng lì qián tǐng yīng wǔ luó hào（ USSNautilusSSN-571， 1954 nián xià shuǐ） suī rán míng chéng zì yī sōu 1803 nián shí de měi guó hǎi jūn duō wéi zòng fān chuán（ Schooner） yǔ zhī hòu xí míng de liǎng sōu chuán tǒng dòng lì qián tǐng， dàn yóu yú hé dòng lì qián tǐng yōng yòu rú xiǎo shuō zhōng xū gòu de yīng wǔ luó hào bān chāo cháng de xù háng lì， yīn cǐ shǐ yòng cǐ mìng míng duō shǎo dài yòu yǐng shè xiǎo shuō zhōng zhī yīng wǔ luó hào de shuāng guān yì wèi。 fǎ guó de wú rén jià shǐ jī qì rén qián shuǐ tǐng yě yǐ cǐ mìng míng。 cǐ wài，《 cóng dì qiú dào yuè qiú》 dāng zhōng， gē lún bǐ yà hào fēi chuán（ huò shuō shì pào dàn） de fā shè dì diǎn zài měi guó fó luó lǐ dá zhōu de tǎn pà， jìng rán yǔ kǎ nà wéi lā 'ěr jiǎo（ kěn ní dí háng tiān zhōng xīn suǒ zài dì） jīhū wèi yú tóng yī wěi dù xiàn shàng， liǎng dì zhī jiān zhí xiàn jù lí jǐn 120 yīng lǐ， qián zhě zuò luò zài fó luó lǐ dá bàn dǎo de xī hǎi 'àn， hòu zhě zài dōng hǎi 'àn。
fán 'ěr nà - zhù yào zuò pǐn
fán 'ěr nà de zuò pǐn《 bā shí rì huán yóu shì jiè》 fán 'ěr nà de zuò pǐn《 bā shí rì huán yóu shì jiè》
sān bù qū
《 gé lán tè chuán cháng de 'ér nǚ》（ 1956 nián， zhōng guó qīng nián chū bǎn shè）。
《 hǎi dǐ liǎng wàn lǐ》
《 shén mì dǎo》（ 1958 nián， zhōng guó qīng nián chū bǎn shè）。
tàn yuè liǎng bù qū
《 cóng dì qiú dào yuè qiú》， yòu míng《 yuè jiè lǚ xíng》。
《 huán rào yuè qiú》
tàn xiǎn
《 bā shí rì huán yóu shì jiè》
《 qì qiú shàng de wǔ xīng qī》
《 zhēng fú zhě luó bǐ 'ěr》
《 tài yáng xì lì xiǎn jì》
《 dì xīn yóu jì》， yòu míng《 dì dǐ lǚ xíng》。
《 liǎng nián jiàqī ( shí wǔ shàonián piào liú jì )》
mín zú dú lì hé gé mìng
《 sāng dào fū bó jué》
《 fēng huǒ dǎo》
《 duō nǎo hé lǐng háng yuán》
qí tā
《 piào shì de bàn dǎo》
《 shí wǔ suì de chuán cháng》
《 jī qì dǎo》
《 yǐn shēn xīn niàn》
《 áng tī fěi 'ěr qí yù jì》
《 yìn dù guì fù de wǔ yì fǎ láng》
zì 20 shì jì yǐ lái， fán 'ěr nà de duō bù zuò pǐn céng bù zhǐ yī cì dì bèi bān shàng guò dà píng mù， bǐ rú《 gé lán tè chuán cháng de 'ér nǚ》（ 1936 nián， yóu qián sū lián pāi shè），《 hǎi dǐ liǎng wàn lǐ》（ 1954 nián diàn yǐng， 1997 nián diàn shì chóngpāi），《 dì xīn yóu jì》（ 1959 nián），《 huán yóu shì jiè bā shí tiān》（ 2004 nián）。 gǎi biān zì fán 'ěr nà de《 dì xīn yóu jì》 yǐ yú 2008 nián chóngxīn yǐ lì tǐ diàn nǎo tè jì bān shàng píng mù， gāi piàn míng wéi《 dì xīn mào xiǎn》， yóu《 shén guǐ chuán qí》 nánjué bù lán dēng · fèi xuě zhù yǎn， yú 8 yuè 14 rì shàng yìng。
fán 'ěr nà - yí zuò
fán 'ěr nà sǐ hòu， qí yí zhù jīng zhěng lǐ chū bǎn de jì yòu：
1905 nián：《 shì jiè jìn tóu de dēng tǎ》（ jiào yù shè）
1908 nián：《 jīn huǒ shān》（ jiào yù shè， cǐ shū qián shí sì zhāng xì rú lè · fán 'ěr nà suǒ xiě， hòu sì zhāng xì qí zǐ mǐ xiē 'ěr bǔ xiě。）
1907 nián：《 tānɡ mǔ shēng gōng sī fēn xíng》（ jù P． gòng duō luó · dé lā · lǐ wá kǎo zhèng， cǐ shū dà gāng qíng jié xì rú lè · fán 'ěr nà nǐ jiù， yóu qí zǐ xiě chéng。）
1908 nián：《 liú xīng zhuī zhú jì》（ cǐ shū qián shí qī zhāng wéi rú lè · fán 'ěr nà suǒ xiě， hòu sì zhāng xì qí zǐ mǐ xiē 'ěr xù chéng。）《 duō nǎo hé de lǐng háng yuán》
1909 nián：《 róu nà dāng de hǎi shàng yùnàn zhě》
1910 nián：《 wēi lián · sī tuō lǐ cí de mì mì》（ xiǎo shuō jié jú céng jiā rùn sè）《 yǒng héng de yà dāng》《 zuó tiān hé míng tiān》（ zhōng duǎn piān xiǎo shuō jí， qí zhōng bāo kuò《 lā dōng yī jiā rén《 shēng bàn mǐ yīn xiān shēng hé jiàng bàn yīn mǐ xiǎo jiě》、《 ràng · mó róng nà de mìng yùn》、《 hóng bǎo》、《 zài 'èr shí shì jì》、《 2889 nián yī gè měi guó xīn wén jì zhě de yī tiān》、《 yǒng héng de yà dāng》。）
1914 nián：《 bā shā kè zhǎnglǎo huì de jīng rén qí yù》
fán 'ěr nà - lǔ xùn de zhōng wén yì běn
lǔ xùn xiān shēng céng zài xīn hài gé mìng zhī qián jiù gēn jù dāng shí zài rì běn yǐ bèi yì chéng rì yǔ de yì zuò（ qí xiān yóu fǎ yǔ yì chéng yīng yǔ zài yì rì yǔ）， fān yì liǎo JulesGabrielVerne de liǎng bù zhù míng zuò pǐn：
《 yuè jiè lǚ xíng》（ 1903 nián 10 yuè， jìn huà shè）
《 dì dǐ lǚ xíng》（ 1906 nián 3 yuè， qǐ xīn shū jú）
5 yuè 18 rì qīng chén， gǔ lǎo de dūn kǎo kè jiào táng de shén fǔ 5 diǎn zhōng jiù qǐ chuáng liǎo， xiàng wǎng cháng yī yàng， wéi jǐ gè qián chéng de jiào tú jǔ xíng xiǎo mí sǎ。
tā shēn chuān jiào páo， jiù yào zǒu xiàng shèng tán de shí kè， yī gè rén xīng chōng chōng 'ér yòu lüè dài bù 'ān dì lái dào shèng qì bǎo cún shì。 zhè shì gè 60 suì zuǒ yòu de lǎo shuǐ shǒu， dàn réng rán shēn qiáng lì zhuàng、 jīng lì chōng pèi， liǎn shàng de biǎo qíng hān hòu 'ér kāi lǎng。
tā shēn chuān jiào páo， jiù yào zǒu xiàng shèng tán de shí kè， yī gè rén xīng chōng chōng 'ér yòu lüè dài bù 'ān dì lái dào shèng qì bǎo cún shì。 zhè shì gè 60 suì zuǒ yòu de lǎo shuǐ shǒu， dàn réng rán shēn qiáng lì zhuàng、 jīng lì chōng pèi， liǎn shàng de biǎo qíng hān hòu 'ér kāi lǎng。
rú guǒ wǒ zài zhè gè gù shì zhōng shuō dào wǒ zì jǐ， nà shì yīn wéi zhè gè gù shì lìng rén zhèn jīng de shì jiàn běn shēn yǔ wǒ běn rén xī xī xiāng guān， zhè xiē shì jiàn zài 'èr shí shì jì suǒ fā shēng de shì jiàn zhōng háo wú yí wèn yě shì fēi tóng xún cháng， shèn zhì kě yǐ shuō wú yǔ lún bǐ de。 yòu shí hòu， wǒ shèn zhì zì wèn zhè xiē shì shì fǒu zhēn zhèng fā shēng guò， cháng ruò zhè xiē xǔ xǔ rú shēng de shì bù jǐn jǐn zhǐ shì wǒ de xiǎng xiàng 'ér què shí shì shēn cáng zài wǒ jì yì zhōng de zhēn shí shì jiàn， zuò wéi huá shèng dùn lián bāng shǔ de dū chá zhǎngguān， wǒ cháng cháng huái yòu qù diào chá yī qiē， ér qiě bǎ nà xiē bù kě sī yì de shì fēi nòng gè shuǐ luò shí chū bù kě de yuàn wàng。 yīn cǐ， wǒ zì rán duì zhè xiē qí yì guài shì jí yòu xīng zhì。 cóng wǒ nián qīng shí hòu qǐ， wǒ jiù shòu gù yú zhèng fǔ， chǔlǐ guò gè shì gè yàng zhòng yào de shì wù， yě jiē shòu guò yī xiē mì mì shǐ mìng， yīn cǐ， wǒ de shàng sī jiāng zhè zhuāng qí shì jiāo gěi wǒ fù zé yě shì qíng lǐ zhōng de shì， zhèng yīn wéi rú cǐ， wǒ fā xiàn wǒ zì jǐ bù dé bùwèi zhè xiē nán yǐ lǐ jiě de guài shì 'ér jiǎo jìn nǎo zhī。
zài yuè dú zhè xiē qián suǒ wèi wén de jì xù shí， zhì guān zhòng yào de shì， dú zhě zhū jūn wù bì xiāng xìn wǒ de huà。 yīn wéi， qí zhōng de ruò gān shì shí， dōushì wǒ qīn yǎn suǒ jiàn de。 cháng ruò nǐ bù yuàn xiāng xìn wǒ de huà， yě wèi cháng bù kě， yīn wéi lián wǒ běn rén yě wèi bì xiāng xìn qí zhēn shí xìng。
Plot outline
A series of unexplained happenings occur across the eastern United States, caused by objects moving with such great speed that they are nearly invisible. The first-person narrator John Strock, 'Head inspector in the federal police department' in Washington, DC, travels to the Blue Ridge Mountains of North Carolina to investigate and discovers that all the phenomena are being caused by Robur, (a brilliant inventor who had previously appeared in Verne's Robur the Conqueror).
Robur had perfected a new invention, which he has dubbed the Terror. This is a ten-meter long vehicle, that is alternately speedboat, submarine, automobile, or aircraft. It can travel at the (then) unheard of speed of 150 miles per hour on land and at over 200 mph when flying.
Strock attempts to capture the Terror but instead is captured himself. The strange craft eludes its pursuers and heads to the Caribbean where Robur deliberately heads into a thunderstorm. The Terror is struck by lightning and falls into the ocean. Strock is rescued from the vehicle's wreckage but Robur's body is never found. The reader is left to judge whether he has actually died or not.
Literary significance & criticism
Master of the World contains a number of ideas current to Verne's time which are now widely known to be errors. A vehicle travelling at 200 mph is not invisible to the naked eye, nor does high speed reduce its weight.
Allusions/references
The novel's events take place in the summer of 1903, as characters refer to events of the Mount Pelée eruption on Martinique in 1902. Verne took a few liberties with American geography in the novel. The location in the book in the mountains of North Carolina is the city of Morganton, however, the specific mountain in the novel, called the Great Aerie, in name resembles Mount Airy, which is also in North Carolina, but not in the region near Morganton. Additionally, another portion of the novel takes place in a large deep natural lake in Kansas, whereas no such lake exists within that state.
Adaptations
* 1961 - Master of the World starring Vincent Price and Charles Bronson. In the script, Richard Matheson combined elements of this book (mainly the character, Strock) with more of the novel's predecessor, Robur the Conqueror (notably the Albatross rather than the Terror), and more sophisticated thematic elements of his own. An article in Filmfax magazine on American International Pictures included a photo of a model of the Terror for an unmade film called Stratofin, which was to be produced as the sequel to Master of the World.
* There is a more faithful version of this novel, with the same title as the 1961 film, that aired as a half-hour cartoon TV special in the late 1970s.
* Robur is a character in the 1995 novel The Bloody Red Baron as the chief airship engineer of the Central Powers. The chapter in which he and his airship flagship appear is titled "Master of the World".
* The Terror appears in the game Pirates of the Mysterious Islands.
zài yuè dú zhè xiē qián suǒ wèi wén de jì xù shí， zhì guān zhòng yào de shì， dú zhě zhū jūn wù bì xiāng xìn wǒ de huà。 yīn wéi， qí zhōng de ruò gān shì shí， dōushì wǒ qīn yǎn suǒ jiàn de。 cháng ruò nǐ bù yuàn xiāng xìn wǒ de huà， yě wèi cháng bù kě， yīn wéi lián wǒ běn rén yě wèi bì xiāng xìn qí zhēn shí xìng。
Plot outline
A series of unexplained happenings occur across the eastern United States, caused by objects moving with such great speed that they are nearly invisible. The first-person narrator John Strock, 'Head inspector in the federal police department' in Washington, DC, travels to the Blue Ridge Mountains of North Carolina to investigate and discovers that all the phenomena are being caused by Robur, (a brilliant inventor who had previously appeared in Verne's Robur the Conqueror).
Robur had perfected a new invention, which he has dubbed the Terror. This is a ten-meter long vehicle, that is alternately speedboat, submarine, automobile, or aircraft. It can travel at the (then) unheard of speed of 150 miles per hour on land and at over 200 mph when flying.
Strock attempts to capture the Terror but instead is captured himself. The strange craft eludes its pursuers and heads to the Caribbean where Robur deliberately heads into a thunderstorm. The Terror is struck by lightning and falls into the ocean. Strock is rescued from the vehicle's wreckage but Robur's body is never found. The reader is left to judge whether he has actually died or not.
Literary significance & criticism
Master of the World contains a number of ideas current to Verne's time which are now widely known to be errors. A vehicle travelling at 200 mph is not invisible to the naked eye, nor does high speed reduce its weight.
Allusions/references
The novel's events take place in the summer of 1903, as characters refer to events of the Mount Pelée eruption on Martinique in 1902. Verne took a few liberties with American geography in the novel. The location in the book in the mountains of North Carolina is the city of Morganton, however, the specific mountain in the novel, called the Great Aerie, in name resembles Mount Airy, which is also in North Carolina, but not in the region near Morganton. Additionally, another portion of the novel takes place in a large deep natural lake in Kansas, whereas no such lake exists within that state.
Adaptations
* 1961 - Master of the World starring Vincent Price and Charles Bronson. In the script, Richard Matheson combined elements of this book (mainly the character, Strock) with more of the novel's predecessor, Robur the Conqueror (notably the Albatross rather than the Terror), and more sophisticated thematic elements of his own. An article in Filmfax magazine on American International Pictures included a photo of a model of the Terror for an unmade film called Stratofin, which was to be produced as the sequel to Master of the World.
* There is a more faithful version of this novel, with the same title as the 1961 film, that aired as a half-hour cartoon TV special in the late 1970s.
* Robur is a character in the 1995 novel The Bloody Red Baron as the chief airship engineer of the Central Powers. The chapter in which he and his airship flagship appear is titled "Master of the World".
* The Terror appears in the game Pirates of the Mysterious Islands.
《 cóng dì qiú dào yuè qiú》 de gù shì qíng jié bǐ jiào jiǎn dān。 měi guó nán běi zhàn zhēng jié shù hòu， bā 'ěr de mó chéng dà pào jù lè bù（ zhè shì dà pào fā míng jiā de jù lè bù） zhù xí bā bǐ kāng tí yì xiàng yuè qiú fā shè yī kē pào dàn， jiàn lì dì qiú yǔ yuè qiú zhī jiān de lián xì。 fǎ guó mào xiǎn jiā mǐ xiē 'ěr · ā 'ěr dāng huò xī zhè yī xiāo xī hòu jiàn yì zào yī kē kòngxīn pào dàn， tā zhǔn bèi chéng zhè kē pào dàn dào yuè qiú qù tàn xiǎn。 bā bǐ kāng、 mǐ xiē 'ěr · ā 'ěr dāng hé ní què 'ěr chuán cháng kè fú liǎo zhǒng zhǒng kùn nán， zhōng yú zài 18** nián 12 yuè 1 rì chéng zhè kē pào dàn chū fā liǎo。 dàn shì tā men méi yòu dào dá mùdì dì， pào dàn bìng méi yòu zài yuè qiú shàng zhe lù， què zài lí yuè qiú 2800 yīng lǐ de dì fāng rào yuè yùn xíng。 rán 'ér， qí zhōng de kē huàn gòu sī zhì jīn lìng rén chēng dào。
cǐ shū bù kào wén xué sè cǎi， méi yòu dǎ dǒu qíng jié， wán quán píng jiè“ huàn xiǎng zhuāng zhì” dǎ dòng wǒ men。 lì rú， nà zhù míng de“ pào dàn chē xiāng” héng héng dàn ké fēi chuán。
cóng dì qiú dào yuè qiú - pào dàn
zhè gè pào dàn de wài bù shì zhí jìng jiǔ yīng chǐ， gāo shí 'èr yīng chǐ。 wèile bù chāo guò guī dìng de zhòng liàng， tā men bǎ dàn bì zuòde shāo wēi bó yī xiē， tóng shí què bǎ pào dàn dǐ zuòde tè bié hòu， yīn wéi tā yào chéng shòu dī dàn xiāo huà xiān wéi sù rán shāo shí chǎn shēng de qì tǐ de quán bù yā lì， qí shí， zhà dàn hé zhuī xíng yuán zhù tǐ de liú dàn yě shì zhè yàng， dǐ bù bǐ jiào hòu。
zhè gè jīn shǔ tǎ de chū rén kǒu shì zài yuán wéi xíng bù fēn shàng kāi de yī gè xiǎo dòng， gēn zhēng qì guō lú shàng de nà xiē dòng kǒu yī yàng dà xiǎo。 dòng mén shì lǚ bǎn zuò de， guān shàng dòng mén， zài níng jǐn jiēshí de yì xíng luó dīng， xiǎo dòng jiù yán sī héfèng dì gěi dǔ qǐ lái liǎo。 zhè yàng， lǚ kè men yī dào dá hēi yè de tiān tǐ， jiù kě yǐ zì yóu dì zǒu chū tā men de huó dòng jiān yù。
dàn shì， dān dān dào nà 'ér qù shì bù gòu de， lù shàng yě yīnggāi kàn kàn yā。 méi yòu bǐ zhè gèng róng yì de liǎo。 yuán lái zài pí diàn zǐ xià miàn yòu sì gè xián chuāng， xián chuāng shàng zhuāng zhe fēi cháng hòu de tū tòu jìng， liǎng gè zài pào dàn zhōu wéi， dì sān gè zài dàn dǐ， dì sì gè zài jiān dǐng， suǒ yǐ lǚ kè men yī lù shàng kě yǐ tóng shí guān chá yǐ jīng lí kāi liǎo de dì qiú、 yuè lái yuè jìn de yuè liàng hé guà mǎn liǎo fán xīng de tiān kōng。 bù guò xián chuāng wài miàn qiàn zhe jiēshí de jīn shǔ hù chuāng bǎn， miǎn dé shòu dào chū fā shí de zhuàng jī， zhǐ xiāo níng xià lǐ miàn de luó sī mào jiù hěn róng yì dì bǎ jīn shǔ bǎn rēng yì liǎo。 zhè yàng pào dàn lǐ de kōng qì jiù bù huì lòu chū qù， ér lǚ kè men yě kě yǐ jìn xíng guān chá liǎo。
xiàn zài fēi chuán shàng de fǎn huí cāng， hé fán 'ěr nà zài 19 shì jì suǒ shè xiǎng de shí fēn xiāng sì！ yìng yòng zhì shǎo jīng guò chōng fēn yán jiū de kē xué bèi jǐng， shì fán 'ěr nà yòu bié yú zǎo qī zuò jiā de jī běn yào sù。 fán 'ěr nà de tè shū gòng xiàn， jiù zài yú tā xǐ huān zuò zhǔn què de kē xué xù shù， ér zhè yàng de xù shù zài mǎ lì · xuě lāi huò 'ài lún · pō hé nà sǎ ní 'ěr · huò sāng de zuò pǐn zhōng shì quē shǎo de。 fán 'ěr nà de xiǎo shuō qíng jié bù yī dìng shí fēn yòu qù， dàn tā de kē xué xiǎng xiàng què zǒng shì yǐn rén rù shèng de。 bù jiǎng jiū wén xué sè cǎi、 wán quán kào kē xué xù shù qǔ shèng de kē huàn xiǎo shuō jiā， zài fán 'ěr nà zhī hòu， yòu yī wèi shì 'é guó de kē xué jiā qí 'ào 'ěr kē fū sī jī， tā zài yù yán rén lèi zhēng fú tài kōng fāng miàn dà dǎn gòu sī， yǐ rán liào wéi dòng lì de huǒ jiàn chéng wéi yǔ háng de gōng jù， bǐ fán 'ěr nà de yòng gē lún bǐ yà dà pào fā shè dàn ké fēi chuán yòu liǎo jìn yī bù de kě xíng xìng。
qí cì， fán 'ěr nà xiàng 19 shì jì de dú zhě zhǎn shì liǎo yī gè“ kē xué qí jì” chéng wéi xiàn shí de lǐ xiǎng shì jiè， ér 20 shì jì， tā de yī xiē kē xué huàn xiǎng zhēn de chéng liǎo xiàn shí。 lì rú， ā bō luó dēng yuè。《 kē huàn shì jiè》 duì cǐ jìn xíng liǎo bǐ jiào
fán 'ěr nà yuè qiú pào dàn yǔ 'ā bō luó dēng yuè duì zhào biǎo
xiàng mù fán 'ěr nà 'ā bō luó dēng yuè
yǔ háng yuán rén shù 33
háng sù 36000 yīng chǐ / miǎo 35533 yīng chǐ / miǎo
háng shí 97 xiǎo shí 13 fēn 20 miǎo 103 xiǎo shí 30 fēn
jiàng luò dì diǎn liǎng zhě jǐn xiāngchà shí jǐ gōng lǐ
fā shè diǎn tóng wéi fó luó lǐ dá kǎ nà wéi lā 'ěr jiǎo
héng héng yǐn zì《 kē huàn shì jiè》 1998 nián dì 10 qī
fán 'ěr nà shuō guò：“ zài wǒ de chuán qí gù shì zhōng， wǒ bì dìng yào bǎ wǒ de suǒ wèi fā míng jiàn lì zài xiàn shí jī chǔ shàng， ér qiě zài yìng yòng tā men shí， bì dìng ràng tā men de jié gòu 'ān pái hé shǐ yòng de cái liào bù wán quán tuō lí tóng shí dài de gōng chéng jì shù hé zhī shí lǐng yù。” yīn cǐ， tā de xiǎo shuō suī rán shì xū gòu de， dàn shì duì kē xué xì jié de miáo xiě què ràng rén xiāng xìn。 dú zhě xǐ 'ài de zhèng shì tā bǐ xià yì zhēn yì huàn de fā míng chuàng zào suǒ dài lái de qí jì， qǐ fā zhēn zhèng kē xué yán jiū zhèng shì tā bǐ xià yì zhēn yì huàn de fā míng chuàng zào suǒ dài lái de qí jì。
hái yòu， qí kē huàn gòu sī zhōng bù jǐn bāo hán kē jì qí jì 'ér qiě bāo hán jīng jì qí jì hé shè huì qí jì， tā tōng guò xíng xiàng sī wéi xiàng wǒ men jiǎng shù liǎo“ kē xué shì shēng chǎn lì”， zhè yǐ jīng zài wú xíng zhōng shè jí liǎo shè huì kē xué lǐng yù。
The story is also notable in that Verne attempted to do some rough calculations as to the requirements for the cannon and, considering the total lack of any data on the subject at the time, some of his figures are surprisingly close to reality. However, his scenario turned out to be impractical for safe manned space travel since a much longer muzzle would have been required to reach escape velocity while limiting acceleration to survivable limits for the passengers.
The real-life Apollo program bears similarities to the story:
* Verne's cannon was called Columbiad; the Apollo 11 command module (Apollo CSM) was named Columbia.
* The spacecraft crew consisted of three persons in each case.
* The physical dimensions of the projectile are very close to the dimensions of the Apollo CSM.
* Verne's voyage blasted off from Florida, as did all Apollo missions. (Verne correctly states in the book that objects launch into space most easily if they are launched towards the zenith of a particular location, and that the zenith would better line up with the moon's orbit from near the Earth's equator. In the book Florida and Texas compete for the launch, with Florida winning.)
* The names of the crew, Ardan, Barbicane, and Nicholl, are vaguely similar to Bill Anders, Frank Borman, and Jim Lovell, the crew of Apollo 8, the first manned spacecraft to travel to the moon, although it didn't actually land.
* The cost of the program in the book is almost similar to the total cost of the Apollo program until Apollo 8.
The character of "Michel Ardan" in the novel was inspired by Félix Nadar.
Plot
It's been some time since the end of the American Civil War. The Gun Club, a society based in Baltimore and dedicated to the design of weapons of all kinds (especially cannons), meets when Impey Barbicane, its president, calls them to support his idea: according to his calculations, a cannon can shoot a projectile so that it reaches the moon. After receiving the whole support of his companions, a few of them meet to decide the place from where the projectile will be shot, the dimensions and makings of both the cannon and the projectile, and which kind of powder are they to use.
An old enemy of Barbicane, a Captain Nicholl of Philadelphia, designer of plate armor, declares that the enterprise is absurd and makes a series of bets with Barbicane, each of them of increasing amount over the impossibility of such feat.
The first obstacle, the money, and over which Nicholl has bet 1000 dollars, is raised from most countries in America and Europe, in which the mission reaches variable success (while the USA gives 4 million dollars, England doesn't give a farthing, being envious of the United States in matters of science), but in the end nearly five and a half million dollars are raised, which ensures the financial feasibility of the project.
After deciding the place for the launch (Stone's Hill in "Tampa Town", Florida; predating Kennedy Space Center's placement in Florida by almost 100 years; Verne gives the exact position as 27°7' northern latitude and 5°7' western longitude, of course relative to the meridian of Washington that is 27°7′0″N 82°9′0″W / 27.116667°N 82.15°W / 27.116667; -82.15 ), the Gun Club travels there and starts the construction of the Columbiad cannon, which requires the excavation of a 900-foot-deep (270 m) and 60-foot-wide (18 m) circular hole, which is made in the nick of time, but a surprise awaits Barbicane: Michel Ardan, a French adventurer, plans to travel aboard the projectile.
During a meeting between Ardan, the Gun Club and the inhabitants of Florida, Nicholl appears and challenges Barbicane to a duel, which is successfully stopped when Ardan, warned by J. T. Maston, secretary of the Gun Club, meets the rivals in the forest they have agreed to duel in. Meanwhile, Barbicane finds the solution to the problem of surviving the incredible acceleration that the explosion would cause. Ardan suggests Barbicane and Nicholl to travel with him in the projectile, and the offer is accepted.
In the end, the projectile is successfully launched, but the destinies of the three astronauts are left inconclusive. The sequel, Around the Moon, deals with what happens to the three men in their travel from the Earth to the Moon.
Technical feasibility of a space cannon
In his 1903 publication on space travel, Konstantin Tsiolkovsky refuted Verne's idea of using a cannon for space travel. He concluded that a gun would have to be impossibly long. The gun in the story would subject the payload to about 22000 g of acceleration (see formula).
Gerald Bull and the Project HARP proved after 1961 that a cannon can shoot a 180 kg (400 lb) projectile up to 180 kilometres (110 mi) of height and reach 32 percent of the needed escape velocity.[citation needed] Additionally, during the Plumbbob nuclear test series, a 900 kg (2,000 lb) capping plate made of steel was blasted away. Myths say that it entered outer space because it did reach a speed of between two and six times the escape velocity, but engineers[who?] believe it melted in the atmosphere.
Influence on popular culture
The novel was adapted as the opera Le voyage dans la lune in 1875, with music by Jacques Offenbach.
In H. G. Wells' 1901 The First Men in the Moon (also relating to the first voyagers to the Moon) the protagonist, Mr. Bedford, mentions Verne's novel to his companion, Professor Cavor, who replies (in a possible dig at Verne) that he does not know what Bedford is referring to.
The novel (along with Wells' The First Men in the Moon) inspired the first science fiction film, A Trip to the Moon, made in 1902 by Georges Méliès. In 1958, another film adaptation of this story was released, titled From the Earth to the Moon. It was one of the last films made under the RKO Pictures banner. The story also became the basis for the very loose adaptation Jules Verne's Rocket to the Moon (1967), a caper-style British comedy starring Burl Ives and Terry-Thomas.
The novel and its sequel were the inspiration for the computer game Voyage: Inspired by Jules Verne.
Among its other homages to classic science fiction, an issue of Planetary involved the Planetary group finding that the Gun Club had been successful in launching the projectile, but that a miscalculation led to a slowly decaying orbit over the decades with the astronauts long dead from lack of air and food.
Barbicane appears in Kevin J. Anderson's novel Captain Nemo: The Fantastic History of a Dark Genius as an Ottoman official whose chief rival, Robur, designs a number of innovative weapons to counteract him, including an attempt to launch a three-man mission to the Moon.
During their return journey from the moon, the crew of Apollo 11 made reference to Jules Verne's book during a TV broadcast on July 23 . The mission's commander, astronaut Neil Armstrong, said, "A hundred years ago, Jules Verne wrote a book about a voyage to the Moon. His spaceship, Columbia [sic], took off from Florida and landed in the Pacific Ocean after completing a trip to the Moon. It seems appropriate to us to share with you some of the reflections of the crew as the modern-day Columbia completes its rendezvous with the planet Earth and the same Pacific Ocean tomorrow."
Disneyland Paris
The first incarnation of the roller coaster Space Mountain in Disneyland Paris, named Space Mountain: De la Terre à la Lune, was based loosely on this novel, the ambience being that of the book being noted throughout the ride with its rivet and boiler plate effect. The ride includes the "Columbiad", which recoils with a bang and produces smoke as each car passes, giving riders the perception of being shot into space.
The attraction was built after the opening of Euro Disneyland and opened in 1995. The attraction's exterior was designed using a Verene era retro-futuristic influence, in keeping with the rest of Discoveryland.
During 2005, the ride was refurbished and renamed Space Mountain: Mission 2 as part of the Happiest Celebration on Earth. The ride no longer features any of the original storyline based on the novel, with the exception of the name of the cannon (Columbiad) and "Baltimore Gun Club" signs.
In 1995 the BBC made a documentary about the creation of Space Mountain, called "Shoot For The Moon". The 44-minute programme followed Tim Delaney and his team in bringing the book From the Earth to the Moon by Jules Verne to life. The programme shows the development of the attraction, from conception over construction up to testing and fine-tuning the final attraction, including its soundtrack. The documentary, originally broadcast on BBC2 in the UK, was also aired on other channels in many countries.
Space Mountain is also located next to the walk-through attraction "Les Mystères du Nautilus" based on Walt Disney's adaptation of Jules Verne's other famous literary work Twenty Thousand Leagues Under the Sea.
cǐ shū bù kào wén xué sè cǎi， méi yòu dǎ dǒu qíng jié， wán quán píng jiè“ huàn xiǎng zhuāng zhì” dǎ dòng wǒ men。 lì rú， nà zhù míng de“ pào dàn chē xiāng” héng héng dàn ké fēi chuán。
cóng dì qiú dào yuè qiú - pào dàn
zhè gè pào dàn de wài bù shì zhí jìng jiǔ yīng chǐ， gāo shí 'èr yīng chǐ。 wèile bù chāo guò guī dìng de zhòng liàng， tā men bǎ dàn bì zuòde shāo wēi bó yī xiē， tóng shí què bǎ pào dàn dǐ zuòde tè bié hòu， yīn wéi tā yào chéng shòu dī dàn xiāo huà xiān wéi sù rán shāo shí chǎn shēng de qì tǐ de quán bù yā lì， qí shí， zhà dàn hé zhuī xíng yuán zhù tǐ de liú dàn yě shì zhè yàng， dǐ bù bǐ jiào hòu。
zhè gè jīn shǔ tǎ de chū rén kǒu shì zài yuán wéi xíng bù fēn shàng kāi de yī gè xiǎo dòng， gēn zhēng qì guō lú shàng de nà xiē dòng kǒu yī yàng dà xiǎo。 dòng mén shì lǚ bǎn zuò de， guān shàng dòng mén， zài níng jǐn jiēshí de yì xíng luó dīng， xiǎo dòng jiù yán sī héfèng dì gěi dǔ qǐ lái liǎo。 zhè yàng， lǚ kè men yī dào dá hēi yè de tiān tǐ， jiù kě yǐ zì yóu dì zǒu chū tā men de huó dòng jiān yù。
dàn shì， dān dān dào nà 'ér qù shì bù gòu de， lù shàng yě yīnggāi kàn kàn yā。 méi yòu bǐ zhè gèng róng yì de liǎo。 yuán lái zài pí diàn zǐ xià miàn yòu sì gè xián chuāng， xián chuāng shàng zhuāng zhe fēi cháng hòu de tū tòu jìng， liǎng gè zài pào dàn zhōu wéi， dì sān gè zài dàn dǐ， dì sì gè zài jiān dǐng， suǒ yǐ lǚ kè men yī lù shàng kě yǐ tóng shí guān chá yǐ jīng lí kāi liǎo de dì qiú、 yuè lái yuè jìn de yuè liàng hé guà mǎn liǎo fán xīng de tiān kōng。 bù guò xián chuāng wài miàn qiàn zhe jiēshí de jīn shǔ hù chuāng bǎn， miǎn dé shòu dào chū fā shí de zhuàng jī， zhǐ xiāo níng xià lǐ miàn de luó sī mào jiù hěn róng yì dì bǎ jīn shǔ bǎn rēng yì liǎo。 zhè yàng pào dàn lǐ de kōng qì jiù bù huì lòu chū qù， ér lǚ kè men yě kě yǐ jìn xíng guān chá liǎo。
xiàn zài fēi chuán shàng de fǎn huí cāng， hé fán 'ěr nà zài 19 shì jì suǒ shè xiǎng de shí fēn xiāng sì！ yìng yòng zhì shǎo jīng guò chōng fēn yán jiū de kē xué bèi jǐng， shì fán 'ěr nà yòu bié yú zǎo qī zuò jiā de jī běn yào sù。 fán 'ěr nà de tè shū gòng xiàn， jiù zài yú tā xǐ huān zuò zhǔn què de kē xué xù shù， ér zhè yàng de xù shù zài mǎ lì · xuě lāi huò 'ài lún · pō hé nà sǎ ní 'ěr · huò sāng de zuò pǐn zhōng shì quē shǎo de。 fán 'ěr nà de xiǎo shuō qíng jié bù yī dìng shí fēn yòu qù， dàn tā de kē xué xiǎng xiàng què zǒng shì yǐn rén rù shèng de。 bù jiǎng jiū wén xué sè cǎi、 wán quán kào kē xué xù shù qǔ shèng de kē huàn xiǎo shuō jiā， zài fán 'ěr nà zhī hòu， yòu yī wèi shì 'é guó de kē xué jiā qí 'ào 'ěr kē fū sī jī， tā zài yù yán rén lèi zhēng fú tài kōng fāng miàn dà dǎn gòu sī， yǐ rán liào wéi dòng lì de huǒ jiàn chéng wéi yǔ háng de gōng jù， bǐ fán 'ěr nà de yòng gē lún bǐ yà dà pào fā shè dàn ké fēi chuán yòu liǎo jìn yī bù de kě xíng xìng。
qí cì， fán 'ěr nà xiàng 19 shì jì de dú zhě zhǎn shì liǎo yī gè“ kē xué qí jì” chéng wéi xiàn shí de lǐ xiǎng shì jiè， ér 20 shì jì， tā de yī xiē kē xué huàn xiǎng zhēn de chéng liǎo xiàn shí。 lì rú， ā bō luó dēng yuè。《 kē huàn shì jiè》 duì cǐ jìn xíng liǎo bǐ jiào
fán 'ěr nà yuè qiú pào dàn yǔ 'ā bō luó dēng yuè duì zhào biǎo
xiàng mù fán 'ěr nà 'ā bō luó dēng yuè
yǔ háng yuán rén shù 33
háng sù 36000 yīng chǐ / miǎo 35533 yīng chǐ / miǎo
háng shí 97 xiǎo shí 13 fēn 20 miǎo 103 xiǎo shí 30 fēn
jiàng luò dì diǎn liǎng zhě jǐn xiāngchà shí jǐ gōng lǐ
fā shè diǎn tóng wéi fó luó lǐ dá kǎ nà wéi lā 'ěr jiǎo
héng héng yǐn zì《 kē huàn shì jiè》 1998 nián dì 10 qī
fán 'ěr nà shuō guò：“ zài wǒ de chuán qí gù shì zhōng， wǒ bì dìng yào bǎ wǒ de suǒ wèi fā míng jiàn lì zài xiàn shí jī chǔ shàng， ér qiě zài yìng yòng tā men shí， bì dìng ràng tā men de jié gòu 'ān pái hé shǐ yòng de cái liào bù wán quán tuō lí tóng shí dài de gōng chéng jì shù hé zhī shí lǐng yù。” yīn cǐ， tā de xiǎo shuō suī rán shì xū gòu de， dàn shì duì kē xué xì jié de miáo xiě què ràng rén xiāng xìn。 dú zhě xǐ 'ài de zhèng shì tā bǐ xià yì zhēn yì huàn de fā míng chuàng zào suǒ dài lái de qí jì， qǐ fā zhēn zhèng kē xué yán jiū zhèng shì tā bǐ xià yì zhēn yì huàn de fā míng chuàng zào suǒ dài lái de qí jì。
hái yòu， qí kē huàn gòu sī zhōng bù jǐn bāo hán kē jì qí jì 'ér qiě bāo hán jīng jì qí jì hé shè huì qí jì， tā tōng guò xíng xiàng sī wéi xiàng wǒ men jiǎng shù liǎo“ kē xué shì shēng chǎn lì”， zhè yǐ jīng zài wú xíng zhōng shè jí liǎo shè huì kē xué lǐng yù。
The story is also notable in that Verne attempted to do some rough calculations as to the requirements for the cannon and, considering the total lack of any data on the subject at the time, some of his figures are surprisingly close to reality. However, his scenario turned out to be impractical for safe manned space travel since a much longer muzzle would have been required to reach escape velocity while limiting acceleration to survivable limits for the passengers.
The real-life Apollo program bears similarities to the story:
* Verne's cannon was called Columbiad; the Apollo 11 command module (Apollo CSM) was named Columbia.
* The spacecraft crew consisted of three persons in each case.
* The physical dimensions of the projectile are very close to the dimensions of the Apollo CSM.
* Verne's voyage blasted off from Florida, as did all Apollo missions. (Verne correctly states in the book that objects launch into space most easily if they are launched towards the zenith of a particular location, and that the zenith would better line up with the moon's orbit from near the Earth's equator. In the book Florida and Texas compete for the launch, with Florida winning.)
* The names of the crew, Ardan, Barbicane, and Nicholl, are vaguely similar to Bill Anders, Frank Borman, and Jim Lovell, the crew of Apollo 8, the first manned spacecraft to travel to the moon, although it didn't actually land.
* The cost of the program in the book is almost similar to the total cost of the Apollo program until Apollo 8.
The character of "Michel Ardan" in the novel was inspired by Félix Nadar.
Plot
It's been some time since the end of the American Civil War. The Gun Club, a society based in Baltimore and dedicated to the design of weapons of all kinds (especially cannons), meets when Impey Barbicane, its president, calls them to support his idea: according to his calculations, a cannon can shoot a projectile so that it reaches the moon. After receiving the whole support of his companions, a few of them meet to decide the place from where the projectile will be shot, the dimensions and makings of both the cannon and the projectile, and which kind of powder are they to use.
An old enemy of Barbicane, a Captain Nicholl of Philadelphia, designer of plate armor, declares that the enterprise is absurd and makes a series of bets with Barbicane, each of them of increasing amount over the impossibility of such feat.
The first obstacle, the money, and over which Nicholl has bet 1000 dollars, is raised from most countries in America and Europe, in which the mission reaches variable success (while the USA gives 4 million dollars, England doesn't give a farthing, being envious of the United States in matters of science), but in the end nearly five and a half million dollars are raised, which ensures the financial feasibility of the project.
After deciding the place for the launch (Stone's Hill in "Tampa Town", Florida; predating Kennedy Space Center's placement in Florida by almost 100 years; Verne gives the exact position as 27°7' northern latitude and 5°7' western longitude, of course relative to the meridian of Washington that is 27°7′0″N 82°9′0″W / 27.116667°N 82.15°W / 27.116667; -82.15 ), the Gun Club travels there and starts the construction of the Columbiad cannon, which requires the excavation of a 900-foot-deep (270 m) and 60-foot-wide (18 m) circular hole, which is made in the nick of time, but a surprise awaits Barbicane: Michel Ardan, a French adventurer, plans to travel aboard the projectile.
During a meeting between Ardan, the Gun Club and the inhabitants of Florida, Nicholl appears and challenges Barbicane to a duel, which is successfully stopped when Ardan, warned by J. T. Maston, secretary of the Gun Club, meets the rivals in the forest they have agreed to duel in. Meanwhile, Barbicane finds the solution to the problem of surviving the incredible acceleration that the explosion would cause. Ardan suggests Barbicane and Nicholl to travel with him in the projectile, and the offer is accepted.
In the end, the projectile is successfully launched, but the destinies of the three astronauts are left inconclusive. The sequel, Around the Moon, deals with what happens to the three men in their travel from the Earth to the Moon.
Technical feasibility of a space cannon
In his 1903 publication on space travel, Konstantin Tsiolkovsky refuted Verne's idea of using a cannon for space travel. He concluded that a gun would have to be impossibly long. The gun in the story would subject the payload to about 22000 g of acceleration (see formula).
Gerald Bull and the Project HARP proved after 1961 that a cannon can shoot a 180 kg (400 lb) projectile up to 180 kilometres (110 mi) of height and reach 32 percent of the needed escape velocity.[citation needed] Additionally, during the Plumbbob nuclear test series, a 900 kg (2,000 lb) capping plate made of steel was blasted away. Myths say that it entered outer space because it did reach a speed of between two and six times the escape velocity, but engineers[who?] believe it melted in the atmosphere.
Influence on popular culture
The novel was adapted as the opera Le voyage dans la lune in 1875, with music by Jacques Offenbach.
In H. G. Wells' 1901 The First Men in the Moon (also relating to the first voyagers to the Moon) the protagonist, Mr. Bedford, mentions Verne's novel to his companion, Professor Cavor, who replies (in a possible dig at Verne) that he does not know what Bedford is referring to.
The novel (along with Wells' The First Men in the Moon) inspired the first science fiction film, A Trip to the Moon, made in 1902 by Georges Méliès. In 1958, another film adaptation of this story was released, titled From the Earth to the Moon. It was one of the last films made under the RKO Pictures banner. The story also became the basis for the very loose adaptation Jules Verne's Rocket to the Moon (1967), a caper-style British comedy starring Burl Ives and Terry-Thomas.
The novel and its sequel were the inspiration for the computer game Voyage: Inspired by Jules Verne.
Among its other homages to classic science fiction, an issue of Planetary involved the Planetary group finding that the Gun Club had been successful in launching the projectile, but that a miscalculation led to a slowly decaying orbit over the decades with the astronauts long dead from lack of air and food.
Barbicane appears in Kevin J. Anderson's novel Captain Nemo: The Fantastic History of a Dark Genius as an Ottoman official whose chief rival, Robur, designs a number of innovative weapons to counteract him, including an attempt to launch a three-man mission to the Moon.
During their return journey from the moon, the crew of Apollo 11 made reference to Jules Verne's book during a TV broadcast on July 23 . The mission's commander, astronaut Neil Armstrong, said, "A hundred years ago, Jules Verne wrote a book about a voyage to the Moon. His spaceship, Columbia [sic], took off from Florida and landed in the Pacific Ocean after completing a trip to the Moon. It seems appropriate to us to share with you some of the reflections of the crew as the modern-day Columbia completes its rendezvous with the planet Earth and the same Pacific Ocean tomorrow."
Disneyland Paris
The first incarnation of the roller coaster Space Mountain in Disneyland Paris, named Space Mountain: De la Terre à la Lune, was based loosely on this novel, the ambience being that of the book being noted throughout the ride with its rivet and boiler plate effect. The ride includes the "Columbiad", which recoils with a bang and produces smoke as each car passes, giving riders the perception of being shot into space.
The attraction was built after the opening of Euro Disneyland and opened in 1995. The attraction's exterior was designed using a Verene era retro-futuristic influence, in keeping with the rest of Discoveryland.
During 2005, the ride was refurbished and renamed Space Mountain: Mission 2 as part of the Happiest Celebration on Earth. The ride no longer features any of the original storyline based on the novel, with the exception of the name of the cannon (Columbiad) and "Baltimore Gun Club" signs.
In 1995 the BBC made a documentary about the creation of Space Mountain, called "Shoot For The Moon". The 44-minute programme followed Tim Delaney and his team in bringing the book From the Earth to the Moon by Jules Verne to life. The programme shows the development of the attraction, from conception over construction up to testing and fine-tuning the final attraction, including its soundtrack. The documentary, originally broadcast on BBC2 in the UK, was also aired on other channels in many countries.
Space Mountain is also located next to the walk-through attraction "Les Mystères du Nautilus" based on Walt Disney's adaptation of Jules Verne's other famous literary work Twenty Thousand Leagues Under the Sea.
rì nèi wǎ chéng wèi yú tóng míng de rì nèi wǎ hú xī pàn， chéng zhōng yòu luó nè hé liú guò， jiāng tā fēn gé chéng liǎng bù fēn； ér gāi hé yòu zài zhōng yāng bèi yī zuò xiǎo dǎo yī fēn wéi 'èr。
zhè xiǎo dǎo wǎn ruò yī sōu hé lán dà yóu lún tíng bó zài hé zhōng yāng。 zài xiàn dài jiàn zhù hái méi chū xiàn zhī qián， zhè lǐ shì yī piàn qí xíng guài zhuàng de wū qún， céng céng dié dié， nǐ zhè wǒ dǎng， hěn shā fēng jǐng。 xiǎo dǎo tài xiǎo liǎo， shì shí shàng， yī xiē fáng wū bèi jǐ dào shuǐ bīn， rèn píng fēng chuī làng dǎ。 fáng zǐ de héng liáng， yīn wéi chéng nián lěi yuè dì zāo dào hé shuǐ de qīn shí， yǐ jīng fā hēi， kàn shàng qù huó xiàng jù xiè de zhuǎzǐ。 zhǎi zhǎi de hé dào， rú zhī zhū wǎng bān zài zhè piàn gǔ lǎo de tǔ dì shàng yán shēn， hé shuǐ zài hēi 'àn zhōng chàn dòng zhe， fǎng fó yuán shǐ xiàng shù lín zhōng sù sù dǒu dòng de yè zǐ。 luó nè hé zé yǐn cáng zài zhè yī piàn wū qún zǔ chéng de sēn lín zhī hòu， tù zhe bái mò， wú xiàn tòng kǔ dì zhe。
zhè xiǎo dǎo wǎn ruò yī sōu hé lán dà yóu lún tíng bó zài hé zhōng yāng。 zài xiàn dài jiàn zhù hái méi chū xiàn zhī qián， zhè lǐ shì yī piàn qí xíng guài zhuàng de wū qún， céng céng dié dié， nǐ zhè wǒ dǎng， hěn shā fēng jǐng。 xiǎo dǎo tài xiǎo liǎo， shì shí shàng， yī xiē fáng wū bèi jǐ dào shuǐ bīn， rèn píng fēng chuī làng dǎ。 fáng zǐ de héng liáng， yīn wéi chéng nián lěi yuè dì zāo dào hé shuǐ de qīn shí， yǐ jīng fā hēi， kàn shàng qù huó xiàng jù xiè de zhuǎzǐ。 zhǎi zhǎi de hé dào， rú zhī zhū wǎng bān zài zhè piàn gǔ lǎo de tǔ dì shàng yán shēn， hé shuǐ zài hēi 'àn zhōng chàn dòng zhe， fǎng fó yuán shǐ xiàng shù lín zhōng sù sù dǒu dòng de yè zǐ。 luó nè hé zé yǐn cáng zài zhè yī piàn wū qún zǔ chéng de sēn lín zhī hòu， tù zhe bái mò， wú xiàn tòng kǔ dì zhe。
zhè bù gù shì tí wéi“ bīng dǎo guài shòu”， gū jì méi yòu yī gè rén huì xiāng xìn tā。 zhè wú guān jǐn yào， wǒ réng rèn wéi jiāng tā gōng zhū yú shì què yòu bì yào。 xiāng xìn yě hǎo， bù xiāng xìn yě hǎo， xī tīng zūn biàn bā！
zhè gè ráo yòu xīng wèi 'ér yòu jīng xīn dòng bó de mào xiǎn gù shì， shǐ yú dé suǒ lā xī wēng ① qún dǎo。 kǒng pà zài yě shè xiǎng bù chū bǐ zhè gèng hé shì de dì diǎn liǎo。 zhè gè dǎo míng shì yī qī qī jiǔ nián kù kè ② chuán cháng gěi tā qǐ de。 wǒ zài nà lǐ xiǎo zhù guò jǐ gè xīng qī， gēn jù wǒ de suǒ jiàn suǒ wén， wǒ kě yǐ kěn dìng dì shuō， zhù míng yīng guó háng hǎi jiājǐ tā qǐ de zhè gè qī cǎn de míng zì， shì wán quán míng fù qí shí de，“ huāng liáng qún dǎo”， zhè gè dǎo míng jiù zú yǐ shuō míng yī qiē liǎo。
zhè gè ráo yòu xīng wèi 'ér yòu jīng xīn dòng bó de mào xiǎn gù shì， shǐ yú dé suǒ lā xī wēng ① qún dǎo。 kǒng pà zài yě shè xiǎng bù chū bǐ zhè gèng hé shì de dì diǎn liǎo。 zhè gè dǎo míng shì yī qī qī jiǔ nián kù kè ② chuán cháng gěi tā qǐ de。 wǒ zài nà lǐ xiǎo zhù guò jǐ gè xīng qī， gēn jù wǒ de suǒ jiàn suǒ wén， wǒ kě yǐ kěn dìng dì shuō， zhù míng yīng guó háng hǎi jiājǐ tā qǐ de zhè gè qī cǎn de míng zì， shì wán quán míng fù qí shí de，“ huāng liáng qún dǎo”， zhè gè dǎo míng jiù zú yǐ shuō míng yī qiē liǎo。
wǒ men shì kǎ 'ěr fèi mǎ tè zhèn shàng de xiǎo xué de yī qún hái zǐ， zǒng gòng 30 lái rén， 20 lái gè 6 suì zhì 12 suì de nán hái zǐ， 10 lái gè 4 suì zhì 9 suì de xiǎo gū niàn。 rú guǒ nǐ xiǎng zhī dào zhè gè xiǎo zhèn de zhèng què wèi zhì， gēn jù wǒ de dì tú cè dì 47 yè， zhè shì zài ruì shì xìn fèng tiān zhù jiào de yī gè zhōu lǐ， lí kāng sī tǎn cí hú① bù yuǎn， zài 'ā bāng zé 'ěr② de qún shān jiǎo xià。
zhè gè gù shì fù yú làng màn de chuán qí sè cǎi， dàn jué fēi wú liáo de dù zhuàn。 dàn shì fǒu yīn tā miáo shù de bìng fēi zhēn qíng shí wù， jiù kě néng dé chū jié lùn， shuō zhè gè gù shì bù shì zhēn de ní？ rú guǒ nà yàng xiǎng jiù dà cuò 'ér tè cuò liǎo。 wǒ men shēng huó de shí dài shénme dōukě néng fā shēng， shèn zhì yòu lǐ yóu rèn wéi yī qiēdōu yǐ fā shēng zài zhè gè shí dài。 rú guǒ zhè gè gù shì zài jīn tiān kàn lái tài guò xuán miào， dàn míng tiān tā bì chéng wéi zhēn shí。 kē xué de fā zhǎn bǎo zhèng liǎo xiàn zài hé wèi lái de fán róng chāng shèng， méi rén huì jiǎn dān dì bǎ běn gù shì yǔ yī bān de chuán shuō děng tóng qǐ lái。 kuàng qiě chù zài zhè gè zhòng shí jì、 jiǎng shí xiào de 19 shì jì mò， shén guài chuán shuō zǎo yǐ bù chī xiāng liǎo。 bù liè tǎ ní bù zài shì xiōng 'è de 'ǎi yāo héng xíng de tǔ dì， sū gé lán yě bù shèng chuán shàn liáng de xiǎo jīng líng hé dì jīng， nuó wēi yě wú wèi 'ā zé、 è 'ěr fú、 xī bèi fú、 wǎ 'ěr shèn nán zhū shén de gù tǔ， shèn zhì tè lán xī wǎ ní yà de shén mì yōu shēn de kā 'ěr bā qiān shān mài zhōng yě bù zài shì guǐ yǐng chōng chōng liǎo。 dàn hái dé zhù yì de shì， tè lán xī wǎ ní yà dì qū de rén hái shì duì yuǎn gǔ shí dài de gè zhǒng mí xìn chuán shuō shēn xìn bù yí。
Title
The original French title was Le Château des Carpathes and in English there are some alternate titles, such as The Castle of the Carpathians and Rodolphe de Gortz; or the Castle of the Carpathians.
Synopsis
In the village of Werst in the Carpathian mountains of Transylvania (then part of Austria-Hungary, today part of Romania), some mysterious things are occurring and the villagers believe that Chort (the devil) occupies the castle. A visitor of the region, Count Franz de Télek, is intrigued by the stories and decides to go to the castle and investigate and finds that the owner of the castle is Baron Rodolphe de Gortz, one of his acquaintances, as years ago, they were rivals for the affections of the celebrated Italian prima donna La Stilla. The Count thought that La Stilla was dead, but he sees her image and voice coming from the castle, but we later on find that it was only a holographic image.
Title
The original French title was Le Château des Carpathes and in English there are some alternate titles, such as The Castle of the Carpathians and Rodolphe de Gortz; or the Castle of the Carpathians.
Synopsis
In the village of Werst in the Carpathian mountains of Transylvania (then part of Austria-Hungary, today part of Romania), some mysterious things are occurring and the villagers believe that Chort (the devil) occupies the castle. A visitor of the region, Count Franz de Télek, is intrigued by the stories and decides to go to the castle and investigate and finds that the owner of the castle is Baron Rodolphe de Gortz, one of his acquaintances, as years ago, they were rivals for the affections of the celebrated Italian prima donna La Stilla. The Count thought that La Stilla was dead, but he sees her image and voice coming from the castle, but we later on find that it was only a holographic image.
cǐ piān wéi fán 'ěr nà de dài biǎo zuò zhī yī，《 dì xīn yóu jì》 jiǎng shù lǐ dēng bù luó kè jiào shòu zài yī běn gǔ lǎo de shū jí lǐ 'ǒu rán dé dào liǎo yī zhāng yáng pí zhǐ， fā xiàn qián rén céng dào dì xīn lǚ xíng， lǐ dēng bù luó kè jiào shòu jué xīn yě zuò tóng yàng de lǚ xíng。 tā hé zhí zǐ cóng hàn bǎo chū fā， dào bīng dǎo qǐng yī wèi xiàng dǎo， tā men 'àn zhào qián rén de zhǐ yǐn， yóu bīng dǎo de yī gè huǒ shān kǒu xià jiàng， jīng guò sān gè yuè de lǚ xíng， lì jìn jiān xiǎn hé zhǒng zhǒng qí guān， zuì hòu huí dào liǎo dì miàn。
tóng míng diàn yǐng
zhōng wén míng : dì xīn yóu jì
yīng wén míng :JourneytotheCenteroftheEarth
qí tā zhōng wén piàn míng： dì xīn tàn xiǎn jì
qí tā yǐngpiān bié míng： JulesVerne'sJourneytotheCenteroftheEarth/TriptotheCenteroftheEarth
《 dì xīn yóu jì》《 dì xīn yóu jì》
lèi xíng： mào xiǎn / kē huàn / huàn xiǎng
fā xíng nián dài： 1959
dǎo yǎn： HenryLevin
biān jù： CharlesBrackett/RobertBurns/
shàng yìng rì qī： fǎ guó： 2005-03-23/ fǎ guó： 1999-12-08/
xuān chuán yǔ： Afabulousworldbelowtheworld
yǎn yuán biǎo： RobertAdler....Groom
MollyRoden....Housekeeper(uncredited)
MollieGlessing....Newsvendor(uncredited)
PeterWright....Laird(uncredited)
ArleneDahl....Mrs.CarlaGoetaborg
PeterRonson....HansBelker
MaryBrady....Kirsty(uncredited)
FrederickHalliday....Chancellor(uncredited)
Robert'Red'GeneWest....BeardedManatNewspaperStand/UniversityStudent(uncredited)
KendrickHuxham....Scotsnewsman(uncredited)
guó jiā / dì qū： měi guó
duì bái yǔ yán： yīng yǔ
jí bié： Australia:PG/Finland:K-12/Iceland:Unrated/UK:U/USA:G
jù qíng gěng gài：
gēn jù shí jiǔ shì jì fǎ guó kē huàn zuò jiā fán 'ěr nà dà zuò《 dì xīn yóu jì》 gǎi biān de zuò pǐn。 jiǎng shù lǐ dēng bù luó kè jiào shòu zài yī běn gǔ lǎo de shū jí lǐ 'ǒu rán dé dào liǎo yī zhāng yáng pí zhǐ， fā xiàn qián rén céng dào dì xīn lǚ xíng， lǐ dēng bù luó kè jiào shòu jué xīn yě zuò tóng yàng de lǚ xíng。 tā hé zhí zǐ cóng hàn bǎo chū fā， dào bīng dǎo qǐng yī wèi xiàng dǎo， tā men 'àn zhào qián rén de zhǐ yǐn， yóu bīng dǎo de yī gè huǒ shān kǒu xià jiàng， jīng guò sān gè yuè de lǚ xíng， lì jìn jiān xiǎn hé zhǒng zhǒng qí guān， zuì hòu huí dào liǎo dì miàn。
《 dì xīn yóu jì》 - běn piàn xiāng guān yǐng píng
bèi pāi huài diào de mào xiǎn diàn yǐng
héng héng kàn《 dì xīn yóu jì》
shì shí shàng， rú guǒ bù shì kàn dào bù lán dēng de dà míng， wǒ xiǎng zì jǐ yě bù huì guān kàn《 dì xīn yóu jì》。 yī zhí yǐ lái， duì dà duō shù kē huàn bù shèn gǎn mào。
yǐngpiān kāi shǐ， dāng xiào 'ēn（ qiáo shí hā chè sēn shì） gēn zhe jiào shòu（ bù lán dēng fú léi zé shì） chū xiàn zài hàn nà（ ān nī tǎ bù lǐ mǔ shì） de jiā zhōng shí， diàn yǐng de jié jú biàn biàn dé háo wú xuán niàn héng héng wú lùn zěn yàng qū zhé、 jīng xiǎn， jiān jué hàn wèi jiē dà huān xǐ de dà tuán yuán shì jié jú de hǎo lāi wù， jué bù gǎn mào tiān xià zhī dà bù wěi ná yī gè hái zǐ yǔ nán、 nǚ zhùjué de shēng mìng 'ān quán dàngzuò 'ér xì。
diàn yǐng gāng kāi shǐ， dāng sān rén bù duàn dì cóng yī gè gāo dù diē luò dào lìng wài yī gè gāo dù shí， suī rán zài tiě guǐ fēi chē piàn duàn kàn dào《 duó bǎo qí bīng》 lǐ sì céng xiāng shí de huà miàn， zài zhuì dòng de qíng jié yě yǐn yǐn kàn dé dào《 mó kū》 hé《 àn yè xí jī》 de yǐng zǐ， zhuóshí diào zú wèi kǒu， dàn dāng hún shēn yíng guāng shǎn shuò de xiǎo niǎo fēi chū lái shí， yī qiē duì mào xiǎn piàn de qī pàn biàn qǐng kè jiān huà wéi wū yòu。
zhěng bù piānzǐ de suǒ wèi tè jì， xiào guǒ jí wéi yī bān。 zǒng gǎn jué yào me tài guò， yào me tài jiǎ， bèi jǐng yǔ rén wù、 dào jù shénme de， quē fá yī zhǒng zhēn shí de róng hé gǎn héng héng yóu qí zài dì xīn lǐ de hǎi yáng bō tāo xiōng yǒng yǔ jù dà de shǐ qián jù shòu tūn chī yá chǐ guài yì de yú lèi shí， nà xiē tè jì chǎng jǐng cū cāo dé shèn zhì yòu xiē lìng rén dǎo wèi kǒu。 bù zhī dào shì bù shì yóu yú méi yòu pèi hé 3D yǎn jìng， zǒng zhī， píng miàn shì jiǎo méi néng gǎn shòu dào lái zì huà miàn de chōng jī。
yīng xióng jiù měi、 féng xiōng huà jí、 yì jiù qīn zhí de jù qíng lǎo tào bù shuō， qiě tiān mǎ xíng kōng biān zhuàn de dì qiú nèi bù gòu zào（ dàotuì yī bǎi nián yě xǔ hái néng méng dé guò） wán quán yǔ zhēn shí de dì zhì gòu zào dà xiāng tíng jìng héng héng dì xīn lǐ hái yòu kǒng lóng， guāi guāi， liǎng qiān duō dù， pà shì tiě lóng yě zǎo huà chéng zhēng lóng liǎo bā？ jiù suàn fān pāi， yě wú fǎ liàng jiě biān jù de sǐ nǎo jīn， rú jīn de guān zhòng yě xǔ rén réndōu niàn guò jǐ tiān shū， shuídōu duì dì qiú de gòu zào yòu yī gè dìng shì de kē xué rèn zhī， nǐ zhè yàng shēng bān yìng tào fān guò qī jiù guà lì， néng dǎ dòng guān zhòng de yǎn qiú？
ér bù lán dēng bàn yǎn de jiào shòu juésè， zài běn piàn qián bàn bù fēn hé hòu bàn bù fēn de jí jù zhuǎn xíng， kǒng pà shì zuì bù néng róng rěn de。 yuán běn bù lán dēng zài《 tài shān》 hé《 dào mù mí chéng》 xì liè zhōng， liú gěi dà jiādōu shì yī zhǒng yòu diǎn wán shì bù gōng dàn dǎn shí guò rén de dà nán hái yìn xiàng héng héng jiù suàn zài《 dào mù mí chéng 3》 zhōng bù lán dēng de hái zǐ dū liàn 'ài liǎo， dàn zài xīn mù zhōng zhè zhǒng yìn xiàng yǐ jiù héng héng 'ér zài běn jù zhōng， qián bàn bù fēn sì hū dǎo yǎn xiǎng bǎ bù lán dēng kè yì sù zào chéng yī gè bèn shǒu bèn jiǎo、 xué shí yuān bó， shèn zhì bù jū xiǎo jié de yū fǔ xué zhě xíng xiàng。 shú liào jìn rù dì xīn shēn chù hòu， zhè gè gāng hái lián dàoguà jīn gōu zì jiù dōubù huì de dāi bèn gēngnián qī kē xué jiā xuán jí gǎi tóu huàn miàn héng héng nà gè wán shì bù gōng、 wēi fēng lǐn lǐn de dà nán hái huí lái lā， shēn shǒu mǐn jié dì zhěng jiù zì jǐ de zhí zǐ hé měi rén yú shù qiān gōng lǐ shēn de dì xīn zhōng。
yī jù huà， zhěng bù yǐngpiān bèi pāi huài diào liǎo。
From a scientific point of view, this story has not aged quite as well as other Verne stories, since most of his ideas about what the interior of the Earth contains have since been soundly refuted. However, a redeeming point to the story is Verne's own belief, told within the novel from the viewpoint of a character, that the inside of the Earth does indeed differ from that which the characters anticipate. One of Verne's main ideas with his stories was also to educate the readers, and by placing the different extinct creatures the characters meet in their correct geological era, he is able to show how the world looked a long time ago, stretching from the ice age to the dinosaurs.
The book was inspired by Charles Lyell's Geological Evidences of the Antiquity of Man of 1863 (and probably also influenced by Lyell's earlier ground-breaking work "Principles Of Geology", published 1830 - 33). By that time geologists had abandoned a literal biblical account of Earth's development and it was generally thought that the end of the last glacial period marked the first appearance of humanity, but Lyell drew on new findings to put the origin of human beings much further back in the deep geological past. Lyell's book also influenced Louis Figuier's 1867 second edition of La Terre avant le déluge which included dramatic illustrations of savage men and women wearing animal skins and wielding stone axes, in place of the Garden of Eden shown in the 1863 edition.
tóng míng diàn yǐng
zhōng wén míng : dì xīn yóu jì
yīng wén míng :JourneytotheCenteroftheEarth
qí tā zhōng wén piàn míng： dì xīn tàn xiǎn jì
qí tā yǐngpiān bié míng： JulesVerne'sJourneytotheCenteroftheEarth/TriptotheCenteroftheEarth
《 dì xīn yóu jì》《 dì xīn yóu jì》
lèi xíng： mào xiǎn / kē huàn / huàn xiǎng
fā xíng nián dài： 1959
dǎo yǎn： HenryLevin
biān jù： CharlesBrackett/RobertBurns/
shàng yìng rì qī： fǎ guó： 2005-03-23/ fǎ guó： 1999-12-08/
xuān chuán yǔ： Afabulousworldbelowtheworld
yǎn yuán biǎo： RobertAdler....Groom
MollyRoden....Housekeeper(uncredited)
MollieGlessing....Newsvendor(uncredited)
PeterWright....Laird(uncredited)
ArleneDahl....Mrs.CarlaGoetaborg
PeterRonson....HansBelker
MaryBrady....Kirsty(uncredited)
FrederickHalliday....Chancellor(uncredited)
Robert'Red'GeneWest....BeardedManatNewspaperStand/UniversityStudent(uncredited)
KendrickHuxham....Scotsnewsman(uncredited)
guó jiā / dì qū： měi guó
duì bái yǔ yán： yīng yǔ
jí bié： Australia:PG/Finland:K-12/Iceland:Unrated/UK:U/USA:G
jù qíng gěng gài：
gēn jù shí jiǔ shì jì fǎ guó kē huàn zuò jiā fán 'ěr nà dà zuò《 dì xīn yóu jì》 gǎi biān de zuò pǐn。 jiǎng shù lǐ dēng bù luó kè jiào shòu zài yī běn gǔ lǎo de shū jí lǐ 'ǒu rán dé dào liǎo yī zhāng yáng pí zhǐ， fā xiàn qián rén céng dào dì xīn lǚ xíng， lǐ dēng bù luó kè jiào shòu jué xīn yě zuò tóng yàng de lǚ xíng。 tā hé zhí zǐ cóng hàn bǎo chū fā， dào bīng dǎo qǐng yī wèi xiàng dǎo， tā men 'àn zhào qián rén de zhǐ yǐn， yóu bīng dǎo de yī gè huǒ shān kǒu xià jiàng， jīng guò sān gè yuè de lǚ xíng， lì jìn jiān xiǎn hé zhǒng zhǒng qí guān， zuì hòu huí dào liǎo dì miàn。
《 dì xīn yóu jì》 - běn piàn xiāng guān yǐng píng
bèi pāi huài diào de mào xiǎn diàn yǐng
héng héng kàn《 dì xīn yóu jì》
shì shí shàng， rú guǒ bù shì kàn dào bù lán dēng de dà míng， wǒ xiǎng zì jǐ yě bù huì guān kàn《 dì xīn yóu jì》。 yī zhí yǐ lái， duì dà duō shù kē huàn bù shèn gǎn mào。
yǐngpiān kāi shǐ， dāng xiào 'ēn（ qiáo shí hā chè sēn shì） gēn zhe jiào shòu（ bù lán dēng fú léi zé shì） chū xiàn zài hàn nà（ ān nī tǎ bù lǐ mǔ shì） de jiā zhōng shí， diàn yǐng de jié jú biàn biàn dé háo wú xuán niàn héng héng wú lùn zěn yàng qū zhé、 jīng xiǎn， jiān jué hàn wèi jiē dà huān xǐ de dà tuán yuán shì jié jú de hǎo lāi wù， jué bù gǎn mào tiān xià zhī dà bù wěi ná yī gè hái zǐ yǔ nán、 nǚ zhùjué de shēng mìng 'ān quán dàngzuò 'ér xì。
diàn yǐng gāng kāi shǐ， dāng sān rén bù duàn dì cóng yī gè gāo dù diē luò dào lìng wài yī gè gāo dù shí， suī rán zài tiě guǐ fēi chē piàn duàn kàn dào《 duó bǎo qí bīng》 lǐ sì céng xiāng shí de huà miàn， zài zhuì dòng de qíng jié yě yǐn yǐn kàn dé dào《 mó kū》 hé《 àn yè xí jī》 de yǐng zǐ， zhuóshí diào zú wèi kǒu， dàn dāng hún shēn yíng guāng shǎn shuò de xiǎo niǎo fēi chū lái shí， yī qiē duì mào xiǎn piàn de qī pàn biàn qǐng kè jiān huà wéi wū yòu。
zhěng bù piānzǐ de suǒ wèi tè jì， xiào guǒ jí wéi yī bān。 zǒng gǎn jué yào me tài guò， yào me tài jiǎ， bèi jǐng yǔ rén wù、 dào jù shénme de， quē fá yī zhǒng zhēn shí de róng hé gǎn héng héng yóu qí zài dì xīn lǐ de hǎi yáng bō tāo xiōng yǒng yǔ jù dà de shǐ qián jù shòu tūn chī yá chǐ guài yì de yú lèi shí， nà xiē tè jì chǎng jǐng cū cāo dé shèn zhì yòu xiē lìng rén dǎo wèi kǒu。 bù zhī dào shì bù shì yóu yú méi yòu pèi hé 3D yǎn jìng， zǒng zhī， píng miàn shì jiǎo méi néng gǎn shòu dào lái zì huà miàn de chōng jī。
yīng xióng jiù měi、 féng xiōng huà jí、 yì jiù qīn zhí de jù qíng lǎo tào bù shuō， qiě tiān mǎ xíng kōng biān zhuàn de dì qiú nèi bù gòu zào（ dàotuì yī bǎi nián yě xǔ hái néng méng dé guò） wán quán yǔ zhēn shí de dì zhì gòu zào dà xiāng tíng jìng héng héng dì xīn lǐ hái yòu kǒng lóng， guāi guāi， liǎng qiān duō dù， pà shì tiě lóng yě zǎo huà chéng zhēng lóng liǎo bā？ jiù suàn fān pāi， yě wú fǎ liàng jiě biān jù de sǐ nǎo jīn， rú jīn de guān zhòng yě xǔ rén réndōu niàn guò jǐ tiān shū， shuídōu duì dì qiú de gòu zào yòu yī gè dìng shì de kē xué rèn zhī， nǐ zhè yàng shēng bān yìng tào fān guò qī jiù guà lì， néng dǎ dòng guān zhòng de yǎn qiú？
ér bù lán dēng bàn yǎn de jiào shòu juésè， zài běn piàn qián bàn bù fēn hé hòu bàn bù fēn de jí jù zhuǎn xíng， kǒng pà shì zuì bù néng róng rěn de。 yuán běn bù lán dēng zài《 tài shān》 hé《 dào mù mí chéng》 xì liè zhōng， liú gěi dà jiādōu shì yī zhǒng yòu diǎn wán shì bù gōng dàn dǎn shí guò rén de dà nán hái yìn xiàng héng héng jiù suàn zài《 dào mù mí chéng 3》 zhōng bù lán dēng de hái zǐ dū liàn 'ài liǎo， dàn zài xīn mù zhōng zhè zhǒng yìn xiàng yǐ jiù héng héng 'ér zài běn jù zhōng， qián bàn bù fēn sì hū dǎo yǎn xiǎng bǎ bù lán dēng kè yì sù zào chéng yī gè bèn shǒu bèn jiǎo、 xué shí yuān bó， shèn zhì bù jū xiǎo jié de yū fǔ xué zhě xíng xiàng。 shú liào jìn rù dì xīn shēn chù hòu， zhè gè gāng hái lián dàoguà jīn gōu zì jiù dōubù huì de dāi bèn gēngnián qī kē xué jiā xuán jí gǎi tóu huàn miàn héng héng nà gè wán shì bù gōng、 wēi fēng lǐn lǐn de dà nán hái huí lái lā， shēn shǒu mǐn jié dì zhěng jiù zì jǐ de zhí zǐ hé měi rén yú shù qiān gōng lǐ shēn de dì xīn zhōng。
yī jù huà， zhěng bù yǐngpiān bèi pāi huài diào liǎo。
From a scientific point of view, this story has not aged quite as well as other Verne stories, since most of his ideas about what the interior of the Earth contains have since been soundly refuted. However, a redeeming point to the story is Verne's own belief, told within the novel from the viewpoint of a character, that the inside of the Earth does indeed differ from that which the characters anticipate. One of Verne's main ideas with his stories was also to educate the readers, and by placing the different extinct creatures the characters meet in their correct geological era, he is able to show how the world looked a long time ago, stretching from the ice age to the dinosaurs.
The book was inspired by Charles Lyell's Geological Evidences of the Antiquity of Man of 1863 (and probably also influenced by Lyell's earlier ground-breaking work "Principles Of Geology", published 1830 - 33). By that time geologists had abandoned a literal biblical account of Earth's development and it was generally thought that the end of the last glacial period marked the first appearance of humanity, but Lyell drew on new findings to put the origin of human beings much further back in the deep geological past. Lyell's book also influenced Louis Figuier's 1867 second edition of La Terre avant le déluge which included dramatic illustrations of savage men and women wearing animal skins and wielding stone axes, in place of the Garden of Eden shown in the 1863 edition.
suí zhe dà dì de yī shēng jù dà zhèn dòng， kōng zhōng chū xiàn liǎo bǐ běi jí guāng hái yào míng liàng de bù tóng xún cháng de guāng huī， chà nà jiànshǐ dé suǒ yòu xīng xīng quándōu 'àn rán shī sè。 dì zhōng hǎi qǐng kè zhī jiān biàn dé kōng kōng rú yě， suí hòu hǎi shuǐ yòu huí dào hǎi lǐ xíng chéng xiōng yǒng péng pài de bō tāo。 dà dì shàng chū xiàn zhèn 'ěr yù lóng de hōng míng， chú liǎo yòu yī zhǒng lái zì dì qiú nèi bù de bào liè shēng wài， hái yòu jù dà de bō tāo hù xiāng zhuàng jī de shēng xiǎng hé jù fēng de hū xiào shēng。 zài tiān kōng、 hǎi shàng hé dì miàn tū rán chū xiàn rú cǐ jù dà de biàn huà hòu， gù shì de zhù rén gōng men tū rán fā xiàn tā men zài yī gè wán quán mò shēng de xīng qiú shàng， kāi shǐ liǎo tā men wú fǎ jù jué de tài yáng xì lì xiǎn。
“ pēng！…… pēng！……”
liǎng wèi duì shǒu jīhū tóng shí kāi qiāng。 50 mǐ kāi wài， yī tóu cóng nà lǐ jīng guò de mǔ niú jǐ liáng shàng bái bái dì 'āi liǎo yī qiāng。 tā yǔ shì qíng háo bù xiāng gān。
liǎng wèi duì shǒu dōuméi yòu jī zhōng duì fāng。
zhè liǎng wèi jué dǒu de shēn shì shì shuí？ bù zhī dào。 yào shì zhī dào de huà， shuō bù dìng tā men de míng zì cóng cǐ jiù huì liú chuán hòu shì ní。 wéi yī zhī dào de shì， tā men zhōng nián jì jiào dà de nà wèi shì yīng guó rén， nián jì jiào qīng de nà wèi shì měi guó rén。 bù guò， rú guǒ xū yào bǎ nà tóu wú gū de fǎn chú dòng wù gāng cái chī zuì hòu yī cù qīng cǎo de dì diǎn biāo chū lái， zhè dǎo shì róng yì， jiù zài ní yà jiā lā pù bù de yòu 'àn， lí měi guó hé jiā ná dà zhī jiān de nà zuò xuán suǒ qiáo bù yuǎn， zài pù bù xià yóu 3 yīng lǐ① de dì fāng。
Plot summary
The story begins with strange lights and sounds, including blaring trumpet music, reported in the skies all over the world. The events are capped by the mysterious appearance of black flags with gold suns atop tall historic landmarks such as the Statue of Liberty in New York, the Great Pyramid of Giza in Egypt, and the Eiffel Tower in Paris. These events are all the work of the mysterious Robur (the specific epithet for English Oak, Quercus robur, and figuratively taken to mean "strength"), a brilliant inventor who intrudes on a meeting of a flight-enthusiast's club called the Weldon Institute in Philadelphia, Pennsylvania.
Members of the Weldon Institute are all firm believers that mankind shall master the skies using “lighter than air” craft, and that "heavier than air" craft such as airplanes and helicopters would be unfeasible. The institute has been constructing a giant dirigible called the Goahead, and are having a heated discussion of where to place its propeller (in front to pull it, or behind to push it) when Robur appears at the meeting and is admitted to speak to them. He chastises the group for being balloon-boosters when "heavier than air" flying apparatuses are the future. When asked if Robur himself has "made conquest of the air," he states that he has, leading to him accepting the title "Robur the Conqueror." During his short time at the Weldon Institute Robur so incenses the members that they chase him outside and are about to attack him. Robur then seemingly vanishes to the mob, but he has actually been borne away in a flying machine.
Later that night Robur kidnaps the Weldon Institute's secretary, president, and the president’s valet. He takes them on board his ship, a huge rotorcraft vessel called the Albatross which has many vertical propellers so as to operate similar to a helicopter, and horizontal propellers to provide lateral movement. It bears the same black flag with golden sun that has been sighted on so many landmarks, and the music in the sky is explained to be one of the crewmen playing a trumpet. To demonstrate the vessel's superiority, Robur takes his captives around the world in the course of three weeks. The president and secretary are angry at Robur for kidnapping them and unwilling to admit that the Albatross is a fantastic vessel, or that their notions of "lighter than air" superiority are wrong. They demand that Robur release them, but he is aloof and always says that they shall remain as long as he desires it. Fearing they will be held captive forever, the two formulate plans to both escape and destroy the Albatross.
After the horizontal propellers are damaged in a storm, the Albatross is anchored over the Chatham Islands for repairs. While the crew is busy at work the two Weldon Institute members light a fuse and make their escape. They try to bring the valet with them but can not find him, only later discovering that the coward had escaped already without them. The Albatross explodes and its wreckage, along with Robur and his crew, plunge into the ocean. Meanwhile the three escapees are safe on a small but inhabited island and are later rescued by a ship, then make a long journey back to Philadelphia.
The Weldon Institute members return and rather than describe their adventures or admit that Robur had created a flying machine greater than their expectations of the Goahead, they simply conclude the argument the group was having during their last meeting. Rather than have only one propeller to their dirigible, they decide to have one propeller in front and another behind similar to Robur's design. Seven months after their return the Goahead is completed and making its maiden voyage with the president, secretary, and an aeronaut. The speed and maneuverability of the dirigible marvels a huge crowd, but are trivial if compared to Robur’s Albatross. Suddenly, out of the sky there appears the Albatross. It is revealed that when the Albatross exploded, enough of it was intact so that at least some of the propellers operated and slowed its descent, saving the crew. The crew used the remains of the Albatross as a raft until they were rescued by a ship. Later, Robur and the crew made it back to his secret X Island, where the original Albatross was built. Robur has built a new Albatross and now intends to exact revenge by showing it is superior to the Weldon Institute’s Goahead.
As an earthbound crowd watches in horror, the Albatross completes several moves, nearly ramming the Goahead. Fearing it is under attack, the Goahead makes horizontal, then vertical, maneuvers to avoid being hit. The Goahead is obviously at the Albatross’s mercy, however, as the Goahead is too slow. The Goahead then ascends very high into the sky in the hope of losing the Albatross, but its balloon bursts. As it falls the Albatross matches its speed and saves the occupants.
Having shown his dominance of the skies, Robur returns the three men to the ground and says that nations are not yet fit to know his secrets. He leaves with the promise that someday he will reveal his secrets of flight.
Influences
Film
The story was made into a 1961 movie, Master of the World, with Vincent Price as Robur. The movie kept the basic concept but added elements of intrigue and a romance to the plot.
In this version, Robur is an idealist who plans to conquer the world in order to put an end to tyranny and war. Using the Albatross he plans to bomb the nations of the world until he is acknowledged its ruler.
Instead of the Weldon Institute members, he kidnaps Mr. Prudent of Philadelphia, an armaments manufacturer, along with his daughter Dorothy and her fiance Phillip Evans. Charles Bronson plays Strock, the reluctant hero who comes to admire Robur, but not enough to let him carry out his plans.
The name Albatross is retained, though the novel's description and early illustrations that suggest a flush-decked clipper ship with propellers on its masts instead of sails, is replaced by a more contemporary design resembling a classic airship, or dirigible; though still given propellers for lift. The vessel is described in the film as being a 'heavier than air machine of several tons,' a statement later explained as the vessel 'is made entirely of paper, mixed with dextrin and clay, and squeezed in a hydraulic press...'
This construction also seems to render the Albatross impervious to contemporary weapons fire.
Novels
* In Kim Newman's alternate history novel The Bloody Red Baron, Robur (along with other such characters as Rotwang, Count Orlok, and Doctor Mabuse) work for Count Dracula during World War I.
* In Kevin J. Anderson's Captain Nemo: The Fantastic History of a Dark Genius, Robur is an official of the Ottoman Empire locked in a power struggle against his rival, Barbicane.
Comics
A graphic novel trilogy by writers Jean-Marc Lofficier and Randy Lofficier and artist Gil Formosa:
* Volume 1 De la Lune à la Terre (Albin Michel, 2003) (From the Moon to the Earth, Heavy Metal, December 2003)
* Volume 2 20.000 Ans sous les Mers (Albin Michel, 2004) (20,000 Years Under the Seas, Heavy Metal, Fall 2005)
* Volume 3 Voyage au Centre de la Lune (Albin Michel, 2005) (Journey to the Center of the Moon)
In it, Robur (who is also an alias of Captain Nemo) is the leader of the resistance when H. G. Wells' Selenites invade the Earth. Other fictional characters which appear in the series include Fantômas, Josephine Balsamo, The Shadow and Professor Cavor.
Robur appears in Batman: Master of the Future, by Brian Augustyn and Eduardo Barreto, part of DC Comics' Elseworlds series. The story mixes a Victorian-era Batman, with the film Master of the World.
Robur is mentioned several times in the three current volumes of The League of Extraordinary Gentlemen, by Alan Moore and Kevin O'Neill. He is first mentioned in Volume 1 corresponding with Captain Mors, another fictional air-based character. An entry in the supplementary The New Traveller's Almanac in the back of Volume 2 indicates that Robur is conscripted to lead Les Hommes Mysterieux ("The Mysterious Men"), which is a French analogue to the British team. Their fateful encounter with the League is detailed in The League of Extraordinary Gentlemen: Black Dossier.
liǎng wèi duì shǒu jīhū tóng shí kāi qiāng。 50 mǐ kāi wài， yī tóu cóng nà lǐ jīng guò de mǔ niú jǐ liáng shàng bái bái dì 'āi liǎo yī qiāng。 tā yǔ shì qíng háo bù xiāng gān。
liǎng wèi duì shǒu dōuméi yòu jī zhōng duì fāng。
zhè liǎng wèi jué dǒu de shēn shì shì shuí？ bù zhī dào。 yào shì zhī dào de huà， shuō bù dìng tā men de míng zì cóng cǐ jiù huì liú chuán hòu shì ní。 wéi yī zhī dào de shì， tā men zhōng nián jì jiào dà de nà wèi shì yīng guó rén， nián jì jiào qīng de nà wèi shì měi guó rén。 bù guò， rú guǒ xū yào bǎ nà tóu wú gū de fǎn chú dòng wù gāng cái chī zuì hòu yī cù qīng cǎo de dì diǎn biāo chū lái， zhè dǎo shì róng yì， jiù zài ní yà jiā lā pù bù de yòu 'àn， lí měi guó hé jiā ná dà zhī jiān de nà zuò xuán suǒ qiáo bù yuǎn， zài pù bù xià yóu 3 yīng lǐ① de dì fāng。
Plot summary
The story begins with strange lights and sounds, including blaring trumpet music, reported in the skies all over the world. The events are capped by the mysterious appearance of black flags with gold suns atop tall historic landmarks such as the Statue of Liberty in New York, the Great Pyramid of Giza in Egypt, and the Eiffel Tower in Paris. These events are all the work of the mysterious Robur (the specific epithet for English Oak, Quercus robur, and figuratively taken to mean "strength"), a brilliant inventor who intrudes on a meeting of a flight-enthusiast's club called the Weldon Institute in Philadelphia, Pennsylvania.
Members of the Weldon Institute are all firm believers that mankind shall master the skies using “lighter than air” craft, and that "heavier than air" craft such as airplanes and helicopters would be unfeasible. The institute has been constructing a giant dirigible called the Goahead, and are having a heated discussion of where to place its propeller (in front to pull it, or behind to push it) when Robur appears at the meeting and is admitted to speak to them. He chastises the group for being balloon-boosters when "heavier than air" flying apparatuses are the future. When asked if Robur himself has "made conquest of the air," he states that he has, leading to him accepting the title "Robur the Conqueror." During his short time at the Weldon Institute Robur so incenses the members that they chase him outside and are about to attack him. Robur then seemingly vanishes to the mob, but he has actually been borne away in a flying machine.
Later that night Robur kidnaps the Weldon Institute's secretary, president, and the president’s valet. He takes them on board his ship, a huge rotorcraft vessel called the Albatross which has many vertical propellers so as to operate similar to a helicopter, and horizontal propellers to provide lateral movement. It bears the same black flag with golden sun that has been sighted on so many landmarks, and the music in the sky is explained to be one of the crewmen playing a trumpet. To demonstrate the vessel's superiority, Robur takes his captives around the world in the course of three weeks. The president and secretary are angry at Robur for kidnapping them and unwilling to admit that the Albatross is a fantastic vessel, or that their notions of "lighter than air" superiority are wrong. They demand that Robur release them, but he is aloof and always says that they shall remain as long as he desires it. Fearing they will be held captive forever, the two formulate plans to both escape and destroy the Albatross.
After the horizontal propellers are damaged in a storm, the Albatross is anchored over the Chatham Islands for repairs. While the crew is busy at work the two Weldon Institute members light a fuse and make their escape. They try to bring the valet with them but can not find him, only later discovering that the coward had escaped already without them. The Albatross explodes and its wreckage, along with Robur and his crew, plunge into the ocean. Meanwhile the three escapees are safe on a small but inhabited island and are later rescued by a ship, then make a long journey back to Philadelphia.
The Weldon Institute members return and rather than describe their adventures or admit that Robur had created a flying machine greater than their expectations of the Goahead, they simply conclude the argument the group was having during their last meeting. Rather than have only one propeller to their dirigible, they decide to have one propeller in front and another behind similar to Robur's design. Seven months after their return the Goahead is completed and making its maiden voyage with the president, secretary, and an aeronaut. The speed and maneuverability of the dirigible marvels a huge crowd, but are trivial if compared to Robur’s Albatross. Suddenly, out of the sky there appears the Albatross. It is revealed that when the Albatross exploded, enough of it was intact so that at least some of the propellers operated and slowed its descent, saving the crew. The crew used the remains of the Albatross as a raft until they were rescued by a ship. Later, Robur and the crew made it back to his secret X Island, where the original Albatross was built. Robur has built a new Albatross and now intends to exact revenge by showing it is superior to the Weldon Institute’s Goahead.
As an earthbound crowd watches in horror, the Albatross completes several moves, nearly ramming the Goahead. Fearing it is under attack, the Goahead makes horizontal, then vertical, maneuvers to avoid being hit. The Goahead is obviously at the Albatross’s mercy, however, as the Goahead is too slow. The Goahead then ascends very high into the sky in the hope of losing the Albatross, but its balloon bursts. As it falls the Albatross matches its speed and saves the occupants.
Having shown his dominance of the skies, Robur returns the three men to the ground and says that nations are not yet fit to know his secrets. He leaves with the promise that someday he will reveal his secrets of flight.
Influences
Film
The story was made into a 1961 movie, Master of the World, with Vincent Price as Robur. The movie kept the basic concept but added elements of intrigue and a romance to the plot.
In this version, Robur is an idealist who plans to conquer the world in order to put an end to tyranny and war. Using the Albatross he plans to bomb the nations of the world until he is acknowledged its ruler.
Instead of the Weldon Institute members, he kidnaps Mr. Prudent of Philadelphia, an armaments manufacturer, along with his daughter Dorothy and her fiance Phillip Evans. Charles Bronson plays Strock, the reluctant hero who comes to admire Robur, but not enough to let him carry out his plans.
The name Albatross is retained, though the novel's description and early illustrations that suggest a flush-decked clipper ship with propellers on its masts instead of sails, is replaced by a more contemporary design resembling a classic airship, or dirigible; though still given propellers for lift. The vessel is described in the film as being a 'heavier than air machine of several tons,' a statement later explained as the vessel 'is made entirely of paper, mixed with dextrin and clay, and squeezed in a hydraulic press...'
This construction also seems to render the Albatross impervious to contemporary weapons fire.
Novels
* In Kim Newman's alternate history novel The Bloody Red Baron, Robur (along with other such characters as Rotwang, Count Orlok, and Doctor Mabuse) work for Count Dracula during World War I.
* In Kevin J. Anderson's Captain Nemo: The Fantastic History of a Dark Genius, Robur is an official of the Ottoman Empire locked in a power struggle against his rival, Barbicane.
Comics
A graphic novel trilogy by writers Jean-Marc Lofficier and Randy Lofficier and artist Gil Formosa:
* Volume 1 De la Lune à la Terre (Albin Michel, 2003) (From the Moon to the Earth, Heavy Metal, December 2003)
* Volume 2 20.000 Ans sous les Mers (Albin Michel, 2004) (20,000 Years Under the Seas, Heavy Metal, Fall 2005)
* Volume 3 Voyage au Centre de la Lune (Albin Michel, 2005) (Journey to the Center of the Moon)
In it, Robur (who is also an alias of Captain Nemo) is the leader of the resistance when H. G. Wells' Selenites invade the Earth. Other fictional characters which appear in the series include Fantômas, Josephine Balsamo, The Shadow and Professor Cavor.
Robur appears in Batman: Master of the Future, by Brian Augustyn and Eduardo Barreto, part of DC Comics' Elseworlds series. The story mixes a Victorian-era Batman, with the film Master of the World.
Robur is mentioned several times in the three current volumes of The League of Extraordinary Gentlemen, by Alan Moore and Kevin O'Neill. He is first mentioned in Volume 1 corresponding with Captain Mors, another fictional air-based character. An entry in the supplementary The New Traveller's Almanac in the back of Volume 2 indicates that Robur is conscripted to lead Les Hommes Mysterieux ("The Mysterious Men"), which is a French analogue to the British team. Their fateful encounter with the League is detailed in The League of Extraordinary Gentlemen: Black Dossier.
“ mǎ sī tōng xiān shēng， nín jìng gǎn shuō fù nǚ men bù kě néng duì shù lǐ kē xué hé shí yàn kē xué zuò chū zì jǐ de gòng xiàn？”
“ shí fēn yí hàn， sī kē bì fū rén， wǒ bìng bù xiǎng zhè yàng shuō。” mǎ sī tōng dá dào，“ nǚ shù xué jiā má， yòu míng de cóng gǔ dào jīn yě yòu guò nà me jǐ wèi， yóu qí shì de， zhè wǒ dāng rán chéng rèn。 bù guò， gēn jù nǚ zǐ dà nǎo de jié gòu lái kàn， tā men jué bù kě néng chéng wéi 'ā jī mǐ dé huò niú dùn shì de rén wù。”
“ ō！ mǎ sī tōng xiān shēng， wǒ yào dài biǎo nǚ xìng xiàng nín tí chū……”
“ sī kē bì fū rén， nǚ xìng shēng lái wǔ mèi piào liàng， suǒ yǐ bù shàn yú jìn xíng chāo yàn de tuī lǐ。”
“ zhào nín zhè me shuō， yī gè nǚ rén jiù shì kàn dào píng guǒ cóng shù shàng làxià， yě bù néng xiàng shí qī shì jì mò nà wèi zhù míng de yīng guó xué zhě yī yàng， cóng zhōng fā xiàn wàn yòu yǐn lì dìng lǜ lā？”
“ shí fēn yí hàn， sī kē bì fū rén， wǒ bìng bù xiǎng zhè yàng shuō。” mǎ sī tōng dá dào，“ nǚ shù xué jiā má， yòu míng de cóng gǔ dào jīn yě yòu guò nà me jǐ wèi， yóu qí shì de， zhè wǒ dāng rán chéng rèn。 bù guò， gēn jù nǚ zǐ dà nǎo de jié gòu lái kàn， tā men jué bù kě néng chéng wéi 'ā jī mǐ dé huò niú dùn shì de rén wù。”
“ ō！ mǎ sī tōng xiān shēng， wǒ yào dài biǎo nǚ xìng xiàng nín tí chū……”
“ sī kē bì fū rén， nǚ xìng shēng lái wǔ mèi piào liàng， suǒ yǐ bù shàn yú jìn xíng chāo yàn de tuī lǐ。”
“ zhào nín zhè me shuō， yī gè nǚ rén jiù shì kàn dào píng guǒ cóng shù shàng làxià， yě bù néng xiàng shí qī shì jì mò nà wèi zhù míng de yīng guó xué zhě yī yàng， cóng zhōng fā xiàn wàn yòu yǐn lì dìng lǜ lā？”
《 hǎi dǐ liǎng wàn lǐ》 xiě yú 1870 nián， shì rú lè · fán 'ěr nà zhù míng de sān bù qū de dì 'èr bù， dì yī bù shì《 gé lán tè chuán cháng de 'ér nǚ》、 dì sān bù shì《 shén mì dǎo》。 zhè bù zuò pǐn xù shù fǎ guó shēng wù xué zhě 'ā lóng nà sī zài hǎi yáng shēn chù lǚ xíng de gù shì。 zhè shì fā shēng zài yī bā liù liù nián， dāng shí hǎi shàng fā xiàn liǎo yī zhǐ bèi duàn dìng wéi dú jiǎo jīng de dà guài wù， tā jiē shòu yāo qǐng cān jiā zhuī bǔ， zài zhuī bǔ guò chéng zhōng bù xìng luò shuǐ， qiú dào guài wù de jǐ bèi shàng。 qí shí zhè guài wù bìng fēi shénme dú jiǎo jīng， ér shì yī sōu gòu zào qí miào de qián shuǐ chuán。 qián shuǐ chuán shì chuán cháng ní mó zài dà yáng zhōng de yī zuò huāng dǎo shàng mì mì jiàn zào de， chuán shēn jiān gù， lì yòng hǎi yáng fā diàn。 ní mó chuán cháng yāo qǐng 'ā lóng nà sī zuò hǎi dǐ lǚ xíng。 tā men cóng tài píng yáng chū fā， jīng guò shān hú dǎo、 yìn dù yáng、 hóng hǎi、 dì zhōng hǎi， jìn rù dà xī yáng， kàn dào xǔ duō hǎn jiàn de hǎi shēng dòng zhí wù hé shuǐ zhōng de qí yì jǐng xiàng， yòu jīng lì liǎo gē qiǎn、 tǔ rén wéi gōng、 tóng shā yú bó dǒu、 bīng shān fēng lù、 zhāng yú xí jī děng xǔ duō xiǎn qíng。 zuì hòu， dāng qián shuǐ chuán dào dá nuó wēi hǎi 'àn shí， ā lóng nà sī bù cí 'ér bié， bǎ tā suǒ zhī dào de hǎi dǐ mì mì gōng bù yú shì。
hǎi dǐ liǎng wàn lǐ - jiè shào
shū zhōng rén wù liáo liáo， yòu míng yòu xìng de zhǐ yòu sì gè bàn héng héng“ yà bó lā hǎn · lín kěn” hào qū zhú jiàn jiàn cháng fǎ lā gé tè， zhǐ zài xiǎo shuō kāi tóu bù fēn tán huā yī xiàn， gū qiě suàn bàn gè； nèi jǐng zhǐ shì yī sōu qián shuǐ tǐng。 dàn jiù shì zhè me sì gè bàn rén， zhè me yī sōu qián shuǐ tǐng， zài jiāng jìn yī nián de shí jiān zhōng， zòng héng hǎi dǐ liǎng wàn lǐ， wèiwǒ men yǎn yì chū yī gè gè gù shì， zhǎn xiàn chū yī fú fú huà miàn； gù shì qū zhé jīng xiǎn， yǐn rén rù shèng， huà miàn duō zī duō cǎi， qì xiàng wàn qiān。 zhè yàng yī bù xiǎo shuō， dú lái jì shǐ rén shǎng xīn yuè mù， yě lìng rén dòng bó jīng xīn。 gù shì bìng bù fù zá： fǎ guó rén 'ā luó nà kè sī， yī wèi bó wù xué jiā， yìng yāo fù měi cān jiā yī xiàng kē xué kǎo chá huó dòng。 qí shí， hǎi shàng chū liǎo gè guài wù， zài quán shì jiè nào dé fèi fèi yáng yáng。 kē kǎo huó dòng jié shù zhī hòu， bó wù xué jiā zhèng zhǔn bèi shù zhuāng jiù dào， fǎn huí fǎ guó， què jiē dào měi guó hǎi jūn bù de yāo qǐng， yú shì gǎi xián gēngzhāng， dēng shàng liǎo yī sōu qū zhú jiàn， cānyù“ bǎ nà gè guài wù cóng hǎi yáng zhōng qīng chú chū qù” de huó dòng。 jīng guò qiān xīn wàn kǔ，“ guài wù” wèi bèi qīng chú， qū zhú jiàn fǎn bèi“ guài wù” zhòngchuāng， bó wù xué jiā hé tā de pú rén yǐ jí wéi qīng chú“ guài wù” bèi tè yì qǐng dào qū zhú jiàn shàng lái de yī míng bǔ jīng shǒu， dōuchéng liǎo“ guài wù” de fú lǔ !“ guài wù” fēi tā， yuán lái shì yī sōu shàng bùwèi shì rén suǒ zhī de qián shuǐ tǐng， míng“ yīng wǔ luó” hào。 qián tǐng duì fú lǔ dǎo yě yōu dài； zhǐ shì， wèile bǎo shǒu zì jǐ de mì mì， qián tǐng tǐng cháng nèi mò cóng cǐ。 yǒng yuǎn bù xǔ tā men lí kāi。 ā luó nà kè sī yīháng bié wú xuǎn zé， zhǐ néng gēn zhe qián shuǐ tǐng zhōu yóu gè dà yáng。 shí gè yuè zhī hòu， zhè sān gè rén zhōng yú zài jí qí xiǎn 'è de qíng kuàng xià táo tuō， bó wù xué jiā cái dé yǐ bǎ zhè jiàn hǎi dǐ mì mì gōng zhū yú shì。《 hǎi dǐ liǎng wàn lǐ》 xiě de zhù yào shì tā men zài zhè shí gè yuè lǐ de jīng lì。《 hǎi dǐ liǎng wàn lǐ》 yǐ jīng yòu jǐ zhǒng zhōng yì běn，“ liǎng wàn lǐ” yě jiù chéng liǎo gè yuē dìng sú chéng de shuō fǎ； jiū qí shí， zhè lǐ de“ lǐ” zhǐ de shì fǎ guó gǔ lǐ， ér gǔ fǎ lǐ yòu yòu hǎi lù zhī fēn， yī gǔ hǎi lǐ yuē hé 5.556 gōng lǐ， yī gǔ lù lǐ yuē hé 4.445 gōng lǐ； jì rán shì zài hǎi dǐ zhōu yóu， zhè lǐ de liǎng wàn lǐ， lǐ yìng wéi liǎng wàn gǔ hǎi lǐ。 rú cǐ shuō lái， tā men zài hǎi dǐ xíng shǐ de lù chéng， jiù yīnggāi zài shí yī wàn gōng lǐ yǐ shàng liǎo。 zhè shì yào shuō míng de。 shí yī wàn gōng lǐ de xíng chéng， shì gè dà chǎng miàn， yī lù suǒ jiàn， kě yǐ shuō wú qí bù yòu。 shuí jiàn guò hǎi dǐ sēn lín ? shuí jiàn guò hǎi dǐ méi kuàng ? shuí jiàn guò“ yǎng” zài bèi ké lǐ、 jià zhí lián chéng de dà zhēn zhū ? dāng liǎo fú lǔ de 'ā luó nà kè sī hé tā de péng yǒu mendōu jiàn dào liǎo， ér qiě céng jīng cháng yáng qí jiān。 tā men zài yìn dù yáng de zhū chǎng hé shā yú zhǎn kāi guò bó dǒu， bǔ jīng shǒu lán dé shǒu rèn liǎo yī tiáo xiōng 'è de jù shā； tā men zài hóng hǎi lǐ zhuī bǔ guò yī tiáo bīn yú jué zhǒng de rú gèn， rú gèn ròu dāng wǎn jiù bèi duān shàng liǎo cān zhuō； tā men zài dà xī yáng lǐ hèzhāng yú jìn xíng guò xuè zhàn， yī míng chuán yuán cǎn sǐ； zhè xiē chǎng miàn， dū shí fēn jīng xīn dòng bó。 cǐ wài， shū zhōng hái miáo xiě liǎo mǒ xiāng jīng rú hé cán shā cháng xū jīng，“ yīng wǔ luó” hào qián tǐng yòu shì rú hé shā sǐ chéng qún de mǒ xiāng jīng de， nà qíng jǐng yě shí fēn hǎn jiàn。 ā luó nà kè sī shì gè bó wù xué jiā， bó gǔ tōng jīn， chéng qián tǐng zài shuǐ xià háng xíng， shǐ tā bǎo lǎn liǎo hǎi yáng lǐ de gè zhǒng dòng zhí wù； tā hé tā nà wèi duì fēn lèi xué rù liǎo mí de pú rén kǒng sài yī， jiāng zhè xiē hǎi yáng shēng wù xiàng wǒ men zuò liǎo xiáng shí de jiè shào， jiè、 mén、 gāng、 mù、 kē、 shǔ、 zhǒng， shuō dé jǐng jǐng yòu tiáo， shǐ dú zhě rèn shí liǎo xǔ duō hǎi yáng shēng wù； ā luó nà kè sī hái bǎ zài hǎi yáng zhōng jiàn dào de zhǒng zhǒng qí guān， yī yī wěi wěi dào lái， lìng dú zhě dà kāi yǎn jiè， zhī dào liǎo shénme shì tài píng yáng hēi liú， shénme shì mò xī gē nuǎn liú， jù fēng shì zěn yàng xíng chéng de， mǎyǐ zǎo hǎi yòu shì shénme yàng…… wǒ men zhī dào shān hú jiāo shì zěn yàng xíng chéng de má ? zhī dào hǎi yáng jiū jìng yòu duō shēn má ? zhī dào hǎi shuǐ chuán bō shēng yīn de sù dù yòu duō kuài má ? zhè yī lèi zhī shí， shū zhōng bǐ bǐ jiē shì。“ yīng wǔ luó” hào yě céng yù xiǎn， zài shān hú jiāo shàng gē guò qiǎn， shòu dào guò bā bù yà tǔ zhù de xí jī， zuì kě pà de shì， zài nán jí bèi hòu hòu de bīng céng kùn zhù， tǐng nèi quē yǎng， tǐng shàng de rén jīhū bù néng shēng hái。 dàn shì， píng zhe qián tǐng de jīng liáng gòu zào hé tǐng cháng de chāo rén zhì huì， zhǒng zhǒng xiǎn jìng， jūn bèi huà jiě， zhōng yú wán chéng liǎo shí yī wàn gōng lǐ de hǎi dǐ xíng chéng。 fán 'ěr nà shí dài， qián shuǐ tǐng gāng gāng miàn shì， hái shì yī zhǒng shén mì de dōng xī；“ yīng wǔ luó” hào tǐng cháng nèi mò yòu shì gè shēn shì bù míng zhī rén， tā táo bì rén lèi， zhé jū hǎi dǐ， ér yòu yǐn yǐn yuē yuē hé lù dì shàng de mǒu xiē rén yòu yī zhǒng tè shū lián xì。 fán cǐ zhǒng zhǒng， dū gěi xiǎo shuō zēng jiā liǎo yī céng shén mì sè cǎi。 jì shì xiǎo shuō， rén wù dāng rán shì xū gòu de， zuò jiājǐ“ yīng wǔ luó” hào tǐng cháng qǔ de lā dīng wén míng zì， gèng míng bái wú wù dì zhǐ chū liǎo zhè yī diǎn héng héng“ nèi mò”， zài lā dīng wén lǐ shì zǐ xū wū yòu de yì sī。 dàn zhè bìng méi yòu fáng 'ài zuò zhě bǎ tā miáo xiě chéng yī gè yòu xuè yòu ròu、 ràng dú zhě jué dé kě xìn de rén wù。 běn shū zuò zhě rú lè · fán 'ěr nà (1828 héng 1905) shì fǎ guó kē huàn xiǎo shuō jiā， xiàn dài kē huàn xiǎo shuō de zhòng yào diàn jī rén。 tā chū shēng zài yī gè lǜ shī jiā tíng， hěn xiǎo de shí hòu jiù chǎn shēng liǎo qiáng liè de tàn suǒ yù wàng hé fēng fù de xiǎng xiàng lì。 tā bó lǎn qún shū， hòu jī bó fā， dì yī bù kē huàn xiǎo shuō《 qì qiú shàng de wǔ xīng qī》， yī pào dǎ xiǎng， yǐn qǐ hōng dòng， shǐ tā chéng liǎo gè jiā yù hù xiǎo de rén wù。 tā hòu lái yī fā 'ér bù kě shōu， yòu xiě liǎo yī xì liè kē xué huàn xiǎng mào xiǎn xiǎo shuō， juàn zhì hào fán， bù xià liù qī shí zhǒng， bèi shōu rù yī tào míng wéi《 qí yì de lǚ xíng》 de cóng shū。《 hǎi dǐ liǎng wàn lǐ》 shì fán 'ěr nà zhù míng sān bù qū de dì 'èr bù， qián yòu《 gé lán tè chuán cháng de 'ér nǚ》， hòu yòu《 shén mì dǎo》。 zuò zhě xiǎng xiàng lì fēng fù， wén bǐ xì nì， gòu sī qí qiǎo， qí zuò pǐn jì yǐn rén rén shèng， yòu hěn yòu jiào yù yì yì， shì hé gè zhǒng nián líng de dú zhě。 ér qiě， fán 'ěr nà de huàn xiǎng bù shì yì xiǎng tiān kāi， dū yǐ kē xué wéi yǐ jù； tā suǒ yù jiàn dào de hěn duō qì xiè， hòu láidōu biàn chéng liǎo xiàn shí shēng huó zhōng de shí yòu zhī wù。
hǎi dǐ liǎng wàn lǐ - zuò zhě jiè shào
rú lè · fán 'ěr nà（ Jules Verne， 1828.2.8.??1905） shēng yú fǎ guó xī bù hǎi gǎng nán tè， tā zài gòu chéng shì qū yī bù fēn de láo 'ā 'ěr hé shàng de fěi yī dé dǎo shēng huó xué xí dào zhōng xué bì yè。 fù qīn shì wèi pō wéi chéng gōng de lǜ shī， yī xīn xī wàng zǐ chéng fù yè。 dàn shì fán 'ěr nà zì yòu rè 'ài hǎi yáng， xiàng wǎng yuǎn háng tàn xiǎn。 11 suì shí， tā céng zhì yuàn shàng chuán dāng jiàn xí shēng， yuǎn háng yìn dù， jiēguǒ bèi jiā rén fā xiàn jiē huí liǎo jiā。 wèicǐ fán 'ěr nà 'āi liǎo yī dùn hěn zòu， bìng tǎng zài chuáng shàng liú zhe lèi bǎo zhèng：“ yǐ hòu bǎo zhèng zhǐ tǎng zài chuáng shàng zài huàn xiǎng zhōng lǚ xíng。” yě xǔ zhèng shì yóu yú zhè yī tóng nián de jīng lì， kè guān shàng cù shǐ fán 'ěr nà yī shēng chí chěng yú huàn xiǎng zhī zhōng， chuàng zuò chū rú cǐ zhòng duō de zhù míng kē huàn zuò pǐn。
hǎi dǐ liǎng wàn lǐ hǎi dǐ liǎng wàn lǐ
18 suì shí， tā zūn fù zhǔ， qù bā lí gōng dú fǎ lǜ， kě shì tā duì fǎ lǜ háo wú xīng qù， què 'ài shàng liǎo wén xué hé xì jù。 yī cì， fán 'ěr nà zì yīcháng wǎn huì zǎo tuì， xià lóu shí tā hū rán tóng xīn dà fā， yán lóu tī fú shǒu yōu rán huá xià， bù xiǎng zhèng zhuàng zài yī wèi pàng shēn shì shēn shàng。 fán 'ěr nà fēi cháng gān gà， dào qiàn zhī hòu suí kǒu xún wèn duì fāng chī fàn méi yòu， duì fāng huí dá shuō gāng chī guò nán tè chǎo jī dàn。 fán 'ěr nà tīng bà yáo tóu， shēng chēng bā lí gēn běn méi yòu zhèng zōng de nán tè chǎo jī dàn， yīn wéi tā jí nán tè rén 'ér qiě ná shǒu cǐ cài。 pàng shēn shì wén yán dà xǐ， chéng yāo fán 'ěr nà dēng mén xiàn yì。 èr rén yǒu yì cóng cǐ kāi shǐ， bìng yī dù hé xiě xì jù， wéi fán 'ěr nà zǒu shàng chuàng zuò zhī lù chuàng zào liǎo yòu lì tiáo jiàn。 zhè wèi pàng shēn shì de míng zì shì dà zhòng mǎ。 bì yè hòu， tā gèng shì yī mén xīn sī tóu rù shī gē hé xì jù de chuàng zuò， wèicǐ bù jǐn shòu dào fù qīn de yán lì xùn chì， bìng shī qù liǎo fù qīn de jīng jì zī zhù。 tā bù dé bù zài pín kùn zhōng fèn dǒu， yǐ dú shū wéi lè。 tā shí fēn xīn shǎng yǔ guǒ、 bā 'ěr zhā kè、 dà zhòng mǎ hé yīng guó de suō shì bǐ yà。 zài bā lí， tā chuàng zuò liǎo 20 gè jù běn（ wèi chū bǎn） hé yī xiē chōng mǎn làng màn jī qíng de shī gē。
hòu lái， fán 'ěr nà yǔ dà zhòng mǎ hé zuò chuàng zuò liǎo jù běn《 zhé duàn de mài gǎn》 bìng dé yǐ shàng yǎn， zhè biāo zhì zhe fán 'ěr nà zài wén xué jiè qǔ dé liǎo chū bù de chéng gōng。 zài jì xù chuàng zuò de guò chéng zhōng， fán 'ěr nà gǎn dào wén xué chuàng zuò sì hū quē fá chū lù， ér qiě tā fā xiàn dāng shí wén tán shàng de réndōu zài zhǎo chū lù， dōuzài shì tú bǎ qí tā lǐng yù de zhī shí róng jìn xì jù。 bǐ rú dà zhòng mǎ shì jiāng lì shǐ xué róng jìn wén xué， ér bā 'ěr zhā kè zé bǎ shè huì lún lǐ xué róng jìn wén xué…… zhè shí fán 'ěr nà fā xiàn， zhǐ shèng xià dì lǐ xué hái méi yòu bèi kāi fā。
yú shì fán 'ěr nà lì yòng yī nián de shí jiān jìn xíng shì yàn， chuàng zuò chū《 bīng chuān shàng miàn guò dōng》 děng zuò pǐn， dàn wèi fā biǎo。
1856 nián fán 'ěr nà chéng huǒ chē lái dào běi bù chéng shì yà mián， yù dào yī míng dài zhe liǎng gè hái zǐ de piào liàng guǎ fù， yī jiàn zhōng qíng bìng qiú hūn， jì 'ér jié hūn。 jiē zhe fán 'ěr nà bān jiā guò qù， cóng cǐ kāi shǐ rèn zhēn chuàng zuò。 qí shí 29 suì。
fán 'ěr nà chuàng zuò chū《 qì qiú shàng de wǔ xīng qī》 hòu， 16 jiā chū bǎn shè wú rén lǐ cǎi， fèn rán tóu rù huǒ zhōng， bèi qī zǐ qiǎng jiù chū lái， sòng rù dì 17 jiā chū bǎn shè hòu bèi chū bǎn。 shǎng shí cǐ shū de biān ji jiào hè cí 'ěr， cóng cǐ fán 'ěr nà yù dào liǎo zhī yīn， yǔ zhī jié xià zhōng shēn yǒu yì。 hēi gé 'ěr yǔ fán 'ěr nà qiān dìng hé tóng， yī nián wéi qí chū bǎn liǎng běn kē huàn xiǎo shuō。
《 qì qiú shàng de wǔ xīng qī》 chū bǎn zhī hòu， fán 'ěr nà de chuàng zuò jìn rù liǎo yī gè duō fāng miàn de tàn suǒ shí qī， tā shì yàn duō zhǒng xiě fǎ， cháo duō zhǒng fāng xiàng jìn xíng tàn suǒ， yī fā bù kě shōu shí。 měi nián chū bǎn liǎng běn， zǒng biāo tí wéi《 qí yì de lǚ xíng》， bāo kuò《 dì xīn yóu jì》《 cóng dì qiú dào yuè qiú》《 huán rào yuè qiú》《 hǎi dǐ liǎng wàn lǐ》《 shén mì dǎo》 děng děng， náng kuò liǎo lù dì、 hǎi yáng hé tiān kōng…… cǐ hòu tàn suǒ tíng zhǐ， kāi shǐ chéng shú， jìn rù píng wěn de fā zhǎn shí qī， chuàng zuò chū《 80 tiān huán rào dì qiú》《 tài yáng xì lì xiǎn jì》（ zhōng yì《 dà mù fá》）《 liǎng nián jiàqī》 děng yōu xiù zuò pǐn。 suí zhe shēng wàng de zēng gāo， fán 'ěr nà de cái fù yě zài xùn sù zēngzhǎng。
fán 'ěr nà de wǎn nián bù shì shí fēn xìng fú， chuàng zuò jiǎn shǎo bìng jìn rù shuāi ruò qī， qí《 kǎ 'ěr bā qiān de gǔ bǎo》 yòu yī dìng de zì chuán xìng， biǎo xiàn liǎo shēng huó zhōng yǐn mì de cè miàn。
1905 nián 3 yuè 17 rì fán 'ěr nà chū xiàn piān tān， 24 rì shī qù zhī jué， 25 rì chén 8:00 qù shì。
1905 nián 3 yuè 28 rì dà chū bìn， quán shì jiè fēn fēn diàn yàn， dào niàn zhè wèi wěi dà de kē huàn zuò jiā。
fán 'ěr nà de gù shì shēng dòng yōu mò， miào yǔ héng shēng， yòu néng jī fā rén men yóu qí shì qīng shàonián rè 'ài kē xué、 xiàng wǎng tàn xiǎn de rè qíng， suǒ yǐ yī bǎi duō nián lái， yī zhí shòu dào shì jiè gè dì dú zhě de huān yíng。 jù lián hé guó jiào kē wén zǔ zhì de zī liào biǎo míng， fán 'ěr nà shì shì jiè shàng bèi fān yì de zuò pǐn zuì duō de shí dà míng jiā zhī yī。
fán 'ěr nà shì yī gè fēi cháng yōu xiù de tōng sú xiǎo shuō zuò jiā， yòu yī zhǒng néng gòu bǎ zì jǐ de huàn jué biàn dé néng gòu chù mō de běn lǐng， qí gǎn jué shì quán fāng wèi de， cóng píng dàn de wén xué zhōng chuán dá chū mǒu zhǒng rén lèi de rè qíng。 dàn fán 'ěr nà de xiǎo shuō zhōng rén wù chú liǎo shǎo shù jǐ gè wài dōushì yī mó yī yàng de， tā sì hū sù zào bù chū gèng zhòng yào de rén wù， rén wù dōushì liǎn pǔ huà de jiǎn dān de hǎo rén huài rén， méi yòu shénme xīn lǐ huó dòng； cóng qí zuò pǐn rén wù xìng bié dān yī huà shàng hái kě kàn chū tā duì nǚ rén de piān jiàn， yǐn yǐn liú lù chū shēn shòu qí kǔ de xīn tài。 cǐ wài fán 'ěr nà de zuò pǐn zhōng chōng mǎn liǎo míng xiǎn de shè huì qīng xiàng， shì yī gè 'ài guó zhě（ fǎ guó rén zuì hǎo）、 mín zú jiě fàng zhù yì zhě（ zhī chí bèi yā pò mín zú dǒu zhēng）， zài mǒu zhǒng chéng dù shàng shì yī gè wú zhèng fǔ zhù yì zhě（ cóng mǒu xiē zuò pǐn zhōng biǎo xiàn chū wú zhì xù zhě）， zuì hòu hái shì yī gè yín hé dì guó zhù yì zhě（ yòu dì zào yǔ zhòu dì guó de yù wàng）。
fán 'ěr nà de zuò pǐn lǐ chōng mǎn liǎo zhī shí， dàn tā běn rén què shì yī míng yǔ zhòu shén mì zhù yì zhě， duì shì jiè yòu yī zhǒng shén mì de chóng bài。 zài tā de xiǎo shuō zhōng， yòu shí hòu sī kǎo wèn tí bù gòu shēn kè， zhù tí yě cháng cháng chóngfù。
dàn zǒng de lái shuō， fán 'ěr nà de cháng shì réng rán shì wěi dà de。 tā xiě de suī rán dōushì píng fán xiǎo shì， dàn dú hòu réng shǐ wǒ men jī dòng bù yǐ。 zhèng rú 1884 nián jiào huáng zài jiē jiàn fán 'ěr nà shí céng shuō：“ wǒ bìng bù shì bù zhī dào nín de zuò pǐn de kē xué jià zhí， dàn wǒ zuì zhēn zhòng de què shì tā men de chún jié、 dào dé jià zhí hé jīng shén lì liàng。”
hǎi dǐ liǎng wàn lǐ - zuò pǐn tè diǎn
《 hǎi dǐ liǎng wàn lǐ》 shì yī bù kē huàn xiǎo shuō， yú yī bā qī 0 nián wèn shì， jì jīn yǐ yú bǎi nián， ér réng néng yǐ duō zhǒng wén zì de gè zhǒng bǎn běn fēng xíng shì jiè， guǎng
hǎi dǐ liǎng wàn lǐ hǎi dǐ liǎng wàn lǐ
yòu dú zhě， jǐn cǐ yī duān， jí kě jiàn qí shēng mìng lì zhī qiáng， xī yǐn lì zhī dà。 zhù zhāng shū bù jí bǎi suì bù kàn de dú zhě， shì dà kě fàng xīn yī yuè de。 shū zhōng rén wù liáo liáo， yòu míng yòu xìng de zhǐ yòu sì gè bàn héng héng“ yà bó lā hǎn · lín kěn” hào qū zhú jiàn jiàn cháng fǎ lā gé tè， zhǐ zài xiǎo shuō kāi tóu bù fēn tán huā yī xiàn， gū qiě suàn bàn gè； nèi jǐng zhǐ shì yī sōu qián shuǐ tǐng。 dàn jiù shì zhè me sì gè bàn rén， zhè me yī sōu qián shuǐ tǐng， yī gè shén mì de chuán cháng , yī gè xué fù wǔ chē de kē xué jiā , zài gè zhǒng tàn xiǎn lì chéng zhōng , zài jiāng jìn yī nián de shí jiān zhōng， zòng héng hǎi dǐ liǎng wàn lǐ， wèiwǒ men yǎn yì chū yī gè gè gù shì， zhǎn xiàn chū yī fú fú huà miàn , hǎi dǐ mù dì , shān hú gǔ , jù xíng zhāng yú…… gù shì qū zhé jīng xiǎn， yǐn rén rù shèng， huà miàn duō zī duō cǎi， qì xiàng wàn qiān。 zhè yàng yī bù xiǎo shuō， dú lái jì shǐ rén shǎng xīn yuè mù， yě lìng rén dòng bó jīng xīn。 lìng rén yǒng shēng nán wàng， bù kuì wéi yī bù shì jiè míng zhù。 bǎi kàn bù yàn。
《 hǎi dǐ liǎng wàn lǐ》 xiě de zhù yào shì tā men zài zhè shí gè yuè lǐ de jīng lì。《 hǎi dǐ liǎng wàn lǐ》 yǐ jīng yòu jǐ zhǒng zhōng yì běn，“ liǎng wàn lǐ” yě jiù chéng liǎo gè yuē dìng sú chéng de shuō fǎ； jiū qí shí， zhè lǐ de“ lǐ” zhǐ de shì fǎ guó gǔ lǐ， ér gǔ fǎ lǐ yòu yòu hǎi lù zhī fēn， yī gǔ hǎi lǐ yuē hé 5.556 gōng lǐ， yī gǔ lù lǐ yuē hé 4.445 gōng lǐ； jì rán shì zài hǎi dǐ zhōu yóu， zhè lǐ de liǎng wàn lǐ， lǐ yìng wéi liǎng wàn gǔ hǎi lǐ。
rú cǐ shuō lái， tā men zài hǎi dǐ xíng shǐ de lù chéng， jiù yīnggāi zài shí yī wàn gōng lǐ yǐ shàng liǎo。 zhè shì yào shuō míng de。 shí yī wàn gōng lǐ de xíng chéng， shì gè dà chǎng miàn， yī lù suǒ jiàn， kě yǐ shuō wú qí bù yòu。 shuí jiàn guò hǎi dǐ sēn lín ? shuí jiàn guò hǎi dǐ méi kuàng ? shuí jiàn guò“ yǎng” zài bèi ké lǐ、 jià zhí lián chéng de dà zhēn zhū ? dāng liǎo fú lǔ de 'ā lóng nà sī hé tā de péng yǒu mendōu jiàn dào liǎo， ér qiě céng jīng cháng yáng qí jiān。 tā men zài yìn dù yáng de zhū chǎng hé shā yú zhǎn kāi guò bó dǒu， bǔ jīng shǒu nèi dé · lán shǒu rèn liǎo yī tiáo xiōng 'è de jù shā； tā men zài hóng hǎi lǐ zhuī bǔ guò yī tiáo bīn yú jué zhǒng de rú gèn， rú gèn ròu dāng wǎn jiù bèi duān shàng liǎo cān zhuō； tā men zài dà xī yáng lǐ hèzhāng yú jìn xíng guò xuè zhàn， yī míng chuán yuán cǎn sǐ； zhè xiē chǎng miàn， dū shí fēn jīng xīn dòng bó。 cǐ wài， shū zhōng hái miáo xiě liǎo mǒ xiāng jīng rú hé cán shā cháng xū jīng，“ yīng wǔ luó” hào qián tǐng yòu shì rú hé shā sǐ chéng qún de mǒ xiāng jīng de， nà qíng jǐng yě shí fēn hǎn jiàn。
ā luó nà kè sī shì gè shēng wù xué jiā， bó gǔ tōng jīn， chéng qián tǐng zài shuǐ xià háng xíng， shǐ tā bǎo lǎn liǎo hǎi yáng lǐ de gè zhǒng dòng zhí wù； tā hé tā nà wèi duì fēn lèi xué rù liǎo mí de pú rén kāng sài 'ěr， jiāng zhè xiē hǎi yáng shēng wù xiàng wǒ men zuò liǎo xiáng shí de jiè shào， jiè、 mén、 gāng、 mù、 kē、 shǔ、 zhǒng， shuō dé jǐng jǐng yòu tiáo， shǐ dú zhě rèn shí liǎo xǔ duō hǎi yáng shēng wù； ā luó nà kè sī hái bǎ zài hǎi yáng zhōng jiàn dào de zhǒng zhǒng qí guān， yī yī wěi wěi dào lái， lìng dú zhě dà kāi yǎn jiè， zhī dào liǎo shénme shì tài píng yáng hēi liú， shénme shì mò xī gē nuǎn liú， jù fēng shì zěn yàng xíng chéng de， mǎyǐ zǎo hǎi yòu shì shénme yàng…… wǒ men zhī dào shān hú jiāo shì zěn yàng xíng chéng de má ? zhī dào hǎi yáng jiū jìng yòu duō shēn má ? zhī dào hǎi shuǐ chuán bō shēng yīn de sù dù yòu duō kuài má ? zhè yī lèi zhī shí， shū zhōng bǐ bǐ jiē shì。
“ yīng wǔ luó” hào yě céng yù xiǎn， zài shān hú jiāo shàng gē guò qiǎn， shòu dào guò bā bù yà tǔ zhù de xí jī， zuì kě pà de shì， zài nán jí bèi hòu hòu de bīng céng kùn zhù， tǐng nèi quē yǎng， tǐng shàng de rén jīhū bù néng shēng hái。 dàn shì， píng zhe qián tǐng de jīng liáng gòu zào hé tǐng cháng de chāo rén zhì huì， zhǒng zhǒng xiǎn jìng， jūn bèi huà jiě， zhōng yú wán chéng liǎo shí yī wàn gōng lǐ de hǎi dǐ xíng chéng。 fán 'ěr nà shí dài， qián shuǐ tǐng gāng gāng miàn shì， hái shì yī zhǒng shén mì de dōng xī；“ yīng wǔ luó” hào tǐng cháng ní mó yòu shì gè shēn shì bù míng zhī rén， tā táo bì rén lèi， zhé jū hǎi dǐ， ér yòu yǐn yǐn yuē yuē hé lù dì shàng de mǒu xiē rén yòu yī zhǒng tè shū lián xì。 fán cǐ zhǒng zhǒng， dū gěi xiǎo shuō zēng jiā liǎo yī céng shén mì sè cǎi。
jì shì xiǎo shuō， rén wù dāng rán shì xū gòu de， zuò jiājǐ“ yīng wǔ luó” hào tǐng cháng qǔ de lā dīng wén míng zì， gèng míng bái wú wù dì zhǐ chū liǎo zhè yī diǎn héng héng“ ní mó”（ Nemo）， zài lā dīng wén lǐ shì zǐ xū wū yòu de yì sī。 dàn zhè bìng méi yòu fáng 'ài zuò zhě bǎ tā miáo xiě chéng yī gè yòu xuè yòu ròu、 ràng dú zhě jué dé kě xìn de rén wù。
Title
The title refers to the distance traveled under the sea and not to a depth, as 20,000 leagues is over 2.5 times the circumference of the earth. The greatest depth mentioned in the book is four leagues. A literal translation of the French title would end in the plural "seas", thus implying the "seven seas" through which the characters of the novel travel. However, the early English translations of the title used "sea", meaning the ocean in general, as in "going to sea".
Plot summary
The story opens in the year 1866. Everyone in Europe and America is talking about a mysterious creature that has been sinking ships. Finally, the United States government decides to intervene and commissions the Abraham Lincoln to capture and identify the creature. On board the ship are Pierre Aronnax, a renowned scientist along with his manservant, Conseil, and Ned Land the king of harpooners. The Abraham Lincoln is attacked by the creature. Aronnax, Conseil and Land go overboard. The three men find themselves on top of the mysterious creature, which is actually a submarine vessel. They are taken on board and placed in a cell. The men meet Captain Nemo, the commander of the vessel, known as the Nautilus. He tells them they can stay on board the ship and enjoy freedom as long as they return to the cell if asked. They are never to leave the vessel again. Ned Land says he will not promise that he will not try to escape. Captain Nemo treats the men, especially Aronnax, very well. They are clothed and fed and may wander around the vessel at their leisure. Aronnax is thrilled by Nemo’s vast library. The men spend their time observing sea life through observation windows. Aronnax studies and writes about everything he sees.
During their time on the Nautilus, the men experience exciting adventures. They hunt in underwater forests, visit an island with angry natives, visit the lost city of Atlantis, and fish for giant pearls. However, there are also many distressing events coupled with the erratic behavior of Captain Nemo. One night the men are asked to return to their cell. They are given sleeping pills and awake the next morning very confused. Nemo asks Aronnax to look at a crewman who has been severely injured. The man later dies and they bury him in an underground cemetery, where many other crewmen have been laid to rest. On a voyage to the South Pole, the Nautilus becomes stuck in the ice. Everyone must take turns trying to break a hole in the ice so the vessel can get through. The ship almost runs out of its oxygen supply and the men grow tired and light headed. However, they escape just in time. Another time, the vessel sails through an area heavily populated by giant squid, when a giant squid gets stuck in the propeller of the submarine. The men and the crew must fight off the squid with axes because they cannot be killed with bullets. While fighting, a crewmember is killed by a squid. Nemo is moved to tears. The rising action of the story begins with Nemo’s attack on a warship. Aronnax does not know to which nation the warship belongs, but he is horrified when Captain Nemo sinks it. The men decide they must escape at all costs. One night, while off the coast of Norway, Aronnax, Conseil and Land plan a rash escape. To their dismay they realize they are heading toward a giant whirlpool—one that no ship has ever survived. Amazingly, in only a small dinghy they emerge safely. They awake in the hut of a fisherman. At the conclusion of the story, Aronnax is awaiting his return to France and rewriting his memoirs of his journey under the sea.
Title page (1871)
Themes and subtext
Captain Nemo's name is a subtle allusion to Homer's Odyssey, a Greek epic poem. In The Odyssey, Odysseus meets the monstrous cyclops Polyphemus during the course of his wanderings. Polyphemus asks Odysseus his name, and Odysseus replies that his name is "Utis" (ουτις), which translates as "No-man" or "No-body". In the Latin translation of the Odyssey, this pseudonym is rendered as "Nemo", which in Latin also translates as "No-man" or "No-body". Similarly to Nemo, Odysseus is forced to wander the seas in exile (though only for 10 years) and is tormented by the deaths of his ship's crew.
The preface of a new English edition[citation needed] of the book has a theory that Nemo's name was in part inspired by Jules Verne visiting Scotland and there coming across Scotland's national motto Nemo me impune lacessit, correctly meaning "No one attacks me with impunity", but reinterpreted by Verne as "Nemo attacks me with impunity".
Commander Matthew Fontaine Maury, "Captain Maury" in Verne's book, a real-life oceanographer who explored the winds, seas, currents, and collected samples of the bottom of the seas and charted all of these things, is mentioned a few times in this work by Jules Verne. Jules Verne certainly would have known of Matthew Maury's international fame and perhaps Maury's French ancestry.
References are made to three other Frenchmen. Those are Jean-François de Galaup, comte de La Pérouse, a famous explorer who was lost while circumnavigating the globe; Dumont D'Urville, the explorer who found the remains of the ill-fated ship of the Count; and Ferdinand Lesseps, builder of the Suez Canal and the nephew of the man who was the sole survivor of De Galaup's expedition. Verne was an investor in Lesseps to build the French sea level crossing in Panama. The Nautilus seems to follow the footsteps of these men: She visits the waters where De Galaup was lost; she sails to Antarctic waters and becomes stranded there, just like D'Urville's ship, the Astrolabe; and she passes through an underwater tunnel from the Red Sea into the Mediterranean.
The crew of the Nautilus observes an underwater funeral.
The most famous part of the novel, the battle against the school of giant squid, begins when a crewman opens the hatch of the boat and gets caught by one of the monsters. As he is being pulled away by the tentacle that has grabbed him, he yells "Help!" in French. At the beginning of the next chapter, concerning the battle, Aronnax states that: "To convey such sights, one would take the pen of our most famous poet, Victor Hugo, author of The Toilers of the Sea". The Toilers of the Sea also contains an episode where a worker fights a giant octopus, wherein the octopus symbolizes the Industrial Revolution. It is probable that Verne borrowed the symbol, but used it to allude to the Revolutions of 1848 as well, in that the first man to stand against the "monster" and the first to be defeated by it is a Frenchman.
In several parts of the book, Captain Nemo is depicted as a champion of the world's underdogs and downtrodden. In one passage Captain Nemo is mentioned as providing some help to Greeks rebelling against Ottoman rule during the Cretan Revolt of 1866–1869, proving to Arronax that after all he had not completely severed all relations with mankind outside the Nautilus. In another passage, Nemo takes pity on a poor Indian pearl diver who must do his diving without the sophisticated diving suit available to the submarine's crew, and who is doomed to die young due to the cumulative effect of diving on his lungs; Nemo approaches him underwater and gives him a whole pouch full of pearls, more than he could have gotten in years of his dangerous work.
Some of Verne's ideas about the not-yet-existing submarines which were laid out in this book turned out to be prophetic, such as the high speed and secret conduct of today's nuclear attack submarines, and (with diesel submarines) the need to surface frequently for fresh air. However, Verne evidently had no idea of the problems of water pressure, depicting his submarine as capable of diving freely even into the deepest of ocean deeps, where in reality it would have been instantly crushed by the weight of water above it, and with humans in diving suits able to emerge and walk along the deep ocean floor where they would have died quickly because of physiological effects of depth pressure and their breathing sets not working because of the pressure (see Diving hazards and precautions).
Model of the 1863 French Navy submarine Plongeur at the Musée de la Marine, Paris.
The Nautilus as imagined by Jules Verne.
Verne took the name "Nautilus" from one of the earliest successful submarines, built in 1800 by Robert Fulton, who later invented the first commercially successful steamboat. Fulton's submarine was named after the paper nautilus because it had a sail. Three years before writing his novel, Jules Verne also studied a model of the newly developed French Navy submarine Plongeur at the 1867 Exposition Universelle, which inspired him for his definition of the Nautilus. The world's first operational nuclear-powered submarine, the United States Navy's USS Nautilus (SSN-571) was named for Verne's fictional vessel.
Verne can also be credited with glimpsing the military possibilities of submarines, and specifically the danger which they possessed for the naval superiority of the British Navy, composed of surface warships. The fictional sinking of a ship by Nemo's Nautilus was to be enacted again and again in reality, in the same waters where Verne predicted it, by German U-boats in both World Wars.
The breathing apparatus used by Nautilus divers is depicted as an untethered version of underwater breathing apparatus designed by Benoit Rouquayrol and Auguste Denayrouze in 1865. They designed a diving set with a backpack spherical air tank that supplied air through the first known demand regulator. The diver still walked on the seabed and did not swim. This set was called an aérophore (Greek for "air-carrier"). Air pressure tanks made with the technology of the time could only hold 30 atmospheres, and the diver had to be surface supplied; the tank was for bailout. The durations of 6 to 8 hours on a tankful without external supply recorded for the Rouquayrol set in the book are greatly exaggerated.
No less significant, though more rarely commented on, is the very bold political vision (indeed, revolutionary for its time) represented by the character of Captain Nemo. As revealed in the later Verne book The Mysterious Island, Captain Nemo is a descendant of Tipu Sultan (a Muslim ruler of Mysore who resisted the British Raj), who took to the underwater life after the suppression of the 1857 Indian Mutiny, in which his close family members were killed by the British.
This change was made on request of Verne's publisher, Pierre-Jules Hetzel (who is known to be responsible for many serious changes in Verne's books), since in the original text the mysterious captain was a Polish nobleman, avenging his family who were killed by Russians. They had been murdered in retaliation for the captain's taking part in the Polish January Uprising (1863). As France was allied with Tsarist Russia, to avoid trouble the target for Nemo's wrath was changed to France's old enemy, the British Empire. It is no wonder that Professor Pierre Aronnax does not suspect Nemo's origins, as these were explained only later, in Verne's next book. What remained in the book from the initial concept is a portrait of Tadeusz Kościuszko (a Polish national hero, leader of the uprising against Russia in 1794) with inscription in Latin: "Finis Poloniae!".
The national origin of Captain Nemo was changed during most movie realizations; in nearly all picture-based works following the book he was made into a European. Nemo was represented as an Indian by Omar Sharif in the 1973 European miniseries The Mysterious Island. Nemo is also depicted as Indian in a silent film version of the story released in 1916 and later in both the graphic novel and the movie The League of Extraordinary Gentlemen.
Recurring themes in later books
Jules Verne wrote a sequel to this book: L'Île mystérieuse (The Mysterious Island, 1874), which concludes the stories begun by Twenty Thousand Leagues Under The Sea and In Search of the Castaways. It should be noted that, while The Mysterious Island seems to give more information about Nemo (or Prince Dakkar), it is muddied by the presence of several irreconcilable chronological contradictions between the two books and even within The Mysterious Island.
Verne returned to the theme of an outlaw submarine captain in his much later Facing the Flag. That book's main villain, Ker Karraje, is a completely unscrupulous pirate, acting purely and simply for gain, completely devoid of all the saving graces which gave Nemo — for all that he, too, was capable of ruthless killings — some nobility of character.
Like Nemo, Ker Karraje plays "host" to unwilling French guests — but unlike Nemo, who manages to elude all pursuers, Karraje's career of outlawry is decisively ended by the combination of an international task force and the rebellion of his French captives. Though also widely published and translated, it never attained the lasting popularity of Twenty Thousand Leagues.
More similar to the original Nemo, though with a less finely worked-out character, is Robur in Robur the Conqueror - a dark and flamboyant outlaw rebel using an aircraft instead of a submarine — later used as a basis for the movie Master of the World.
Translations
The novel was first translated into English in 1873 by Reverend Lewis Page Mercier (aka "Mercier Lewis"). Mercier, under orders from British censors and performed or dictated by his editors at Sampson Low, cut nearly a quarter of Verne's original text and made hundreds of translation errors, sometimes dramatically changing the meaning of Verne's original intent. Some of these bowdlerizations may have been done for political reasons, such as Nemo's identity and the nationality of the two warships he sinks, or the portraits of freedom fighters on the wall of his cabin which originally included Daniel O'Connell. Nonetheless it became the "standard" English translation for more than a hundred years, while other translations continued to draw from it — and its mistakes, especially the mistranslation of the title; the French title actually means Twenty Thousand Leagues under the Seas.
A modern translation was produced in 1966 by Walter James Miller and published by Washington Square Press. Many of Mercier's changes were addressed in the translator's preface, and most of Verne's text was restored.
Many of the "sins" of Mercier were again corrected in a from-the-ground-up re-examination of the sources and an entirely new translation by Walter James Miller and Frederick Paul Walter between 1989 and 1991, published in 1993 by Naval Institute Press in a "completely restored and annotated edition." But, it has a new error: in it the French word scaphandrier, which in this book means one of Captain Nemo's divers in kit similar to an old-type heavy standard diving suit but with an independent air supply, is everywhere wrongly translated "frogman". F. P. Walter's own translation was published in 2009 with the title Twenty Thousand Leagues under the Seas (ISBN 978-1-904808-28-2)
hǎi dǐ liǎng wàn lǐ - jiè shào
shū zhōng rén wù liáo liáo， yòu míng yòu xìng de zhǐ yòu sì gè bàn héng héng“ yà bó lā hǎn · lín kěn” hào qū zhú jiàn jiàn cháng fǎ lā gé tè， zhǐ zài xiǎo shuō kāi tóu bù fēn tán huā yī xiàn， gū qiě suàn bàn gè； nèi jǐng zhǐ shì yī sōu qián shuǐ tǐng。 dàn jiù shì zhè me sì gè bàn rén， zhè me yī sōu qián shuǐ tǐng， zài jiāng jìn yī nián de shí jiān zhōng， zòng héng hǎi dǐ liǎng wàn lǐ， wèiwǒ men yǎn yì chū yī gè gè gù shì， zhǎn xiàn chū yī fú fú huà miàn； gù shì qū zhé jīng xiǎn， yǐn rén rù shèng， huà miàn duō zī duō cǎi， qì xiàng wàn qiān。 zhè yàng yī bù xiǎo shuō， dú lái jì shǐ rén shǎng xīn yuè mù， yě lìng rén dòng bó jīng xīn。 gù shì bìng bù fù zá： fǎ guó rén 'ā luó nà kè sī， yī wèi bó wù xué jiā， yìng yāo fù měi cān jiā yī xiàng kē xué kǎo chá huó dòng。 qí shí， hǎi shàng chū liǎo gè guài wù， zài quán shì jiè nào dé fèi fèi yáng yáng。 kē kǎo huó dòng jié shù zhī hòu， bó wù xué jiā zhèng zhǔn bèi shù zhuāng jiù dào， fǎn huí fǎ guó， què jiē dào měi guó hǎi jūn bù de yāo qǐng， yú shì gǎi xián gēngzhāng， dēng shàng liǎo yī sōu qū zhú jiàn， cānyù“ bǎ nà gè guài wù cóng hǎi yáng zhōng qīng chú chū qù” de huó dòng。 jīng guò qiān xīn wàn kǔ，“ guài wù” wèi bèi qīng chú， qū zhú jiàn fǎn bèi“ guài wù” zhòngchuāng， bó wù xué jiā hé tā de pú rén yǐ jí wéi qīng chú“ guài wù” bèi tè yì qǐng dào qū zhú jiàn shàng lái de yī míng bǔ jīng shǒu， dōuchéng liǎo“ guài wù” de fú lǔ !“ guài wù” fēi tā， yuán lái shì yī sōu shàng bùwèi shì rén suǒ zhī de qián shuǐ tǐng， míng“ yīng wǔ luó” hào。 qián tǐng duì fú lǔ dǎo yě yōu dài； zhǐ shì， wèile bǎo shǒu zì jǐ de mì mì， qián tǐng tǐng cháng nèi mò cóng cǐ。 yǒng yuǎn bù xǔ tā men lí kāi。 ā luó nà kè sī yīháng bié wú xuǎn zé， zhǐ néng gēn zhe qián shuǐ tǐng zhōu yóu gè dà yáng。 shí gè yuè zhī hòu， zhè sān gè rén zhōng yú zài jí qí xiǎn 'è de qíng kuàng xià táo tuō， bó wù xué jiā cái dé yǐ bǎ zhè jiàn hǎi dǐ mì mì gōng zhū yú shì。《 hǎi dǐ liǎng wàn lǐ》 xiě de zhù yào shì tā men zài zhè shí gè yuè lǐ de jīng lì。《 hǎi dǐ liǎng wàn lǐ》 yǐ jīng yòu jǐ zhǒng zhōng yì běn，“ liǎng wàn lǐ” yě jiù chéng liǎo gè yuē dìng sú chéng de shuō fǎ； jiū qí shí， zhè lǐ de“ lǐ” zhǐ de shì fǎ guó gǔ lǐ， ér gǔ fǎ lǐ yòu yòu hǎi lù zhī fēn， yī gǔ hǎi lǐ yuē hé 5.556 gōng lǐ， yī gǔ lù lǐ yuē hé 4.445 gōng lǐ； jì rán shì zài hǎi dǐ zhōu yóu， zhè lǐ de liǎng wàn lǐ， lǐ yìng wéi liǎng wàn gǔ hǎi lǐ。 rú cǐ shuō lái， tā men zài hǎi dǐ xíng shǐ de lù chéng， jiù yīnggāi zài shí yī wàn gōng lǐ yǐ shàng liǎo。 zhè shì yào shuō míng de。 shí yī wàn gōng lǐ de xíng chéng， shì gè dà chǎng miàn， yī lù suǒ jiàn， kě yǐ shuō wú qí bù yòu。 shuí jiàn guò hǎi dǐ sēn lín ? shuí jiàn guò hǎi dǐ méi kuàng ? shuí jiàn guò“ yǎng” zài bèi ké lǐ、 jià zhí lián chéng de dà zhēn zhū ? dāng liǎo fú lǔ de 'ā luó nà kè sī hé tā de péng yǒu mendōu jiàn dào liǎo， ér qiě céng jīng cháng yáng qí jiān。 tā men zài yìn dù yáng de zhū chǎng hé shā yú zhǎn kāi guò bó dǒu， bǔ jīng shǒu lán dé shǒu rèn liǎo yī tiáo xiōng 'è de jù shā； tā men zài hóng hǎi lǐ zhuī bǔ guò yī tiáo bīn yú jué zhǒng de rú gèn， rú gèn ròu dāng wǎn jiù bèi duān shàng liǎo cān zhuō； tā men zài dà xī yáng lǐ hèzhāng yú jìn xíng guò xuè zhàn， yī míng chuán yuán cǎn sǐ； zhè xiē chǎng miàn， dū shí fēn jīng xīn dòng bó。 cǐ wài， shū zhōng hái miáo xiě liǎo mǒ xiāng jīng rú hé cán shā cháng xū jīng，“ yīng wǔ luó” hào qián tǐng yòu shì rú hé shā sǐ chéng qún de mǒ xiāng jīng de， nà qíng jǐng yě shí fēn hǎn jiàn。 ā luó nà kè sī shì gè bó wù xué jiā， bó gǔ tōng jīn， chéng qián tǐng zài shuǐ xià háng xíng， shǐ tā bǎo lǎn liǎo hǎi yáng lǐ de gè zhǒng dòng zhí wù； tā hé tā nà wèi duì fēn lèi xué rù liǎo mí de pú rén kǒng sài yī， jiāng zhè xiē hǎi yáng shēng wù xiàng wǒ men zuò liǎo xiáng shí de jiè shào， jiè、 mén、 gāng、 mù、 kē、 shǔ、 zhǒng， shuō dé jǐng jǐng yòu tiáo， shǐ dú zhě rèn shí liǎo xǔ duō hǎi yáng shēng wù； ā luó nà kè sī hái bǎ zài hǎi yáng zhōng jiàn dào de zhǒng zhǒng qí guān， yī yī wěi wěi dào lái， lìng dú zhě dà kāi yǎn jiè， zhī dào liǎo shénme shì tài píng yáng hēi liú， shénme shì mò xī gē nuǎn liú， jù fēng shì zěn yàng xíng chéng de， mǎyǐ zǎo hǎi yòu shì shénme yàng…… wǒ men zhī dào shān hú jiāo shì zěn yàng xíng chéng de má ? zhī dào hǎi yáng jiū jìng yòu duō shēn má ? zhī dào hǎi shuǐ chuán bō shēng yīn de sù dù yòu duō kuài má ? zhè yī lèi zhī shí， shū zhōng bǐ bǐ jiē shì。“ yīng wǔ luó” hào yě céng yù xiǎn， zài shān hú jiāo shàng gē guò qiǎn， shòu dào guò bā bù yà tǔ zhù de xí jī， zuì kě pà de shì， zài nán jí bèi hòu hòu de bīng céng kùn zhù， tǐng nèi quē yǎng， tǐng shàng de rén jīhū bù néng shēng hái。 dàn shì， píng zhe qián tǐng de jīng liáng gòu zào hé tǐng cháng de chāo rén zhì huì， zhǒng zhǒng xiǎn jìng， jūn bèi huà jiě， zhōng yú wán chéng liǎo shí yī wàn gōng lǐ de hǎi dǐ xíng chéng。 fán 'ěr nà shí dài， qián shuǐ tǐng gāng gāng miàn shì， hái shì yī zhǒng shén mì de dōng xī；“ yīng wǔ luó” hào tǐng cháng nèi mò yòu shì gè shēn shì bù míng zhī rén， tā táo bì rén lèi， zhé jū hǎi dǐ， ér yòu yǐn yǐn yuē yuē hé lù dì shàng de mǒu xiē rén yòu yī zhǒng tè shū lián xì。 fán cǐ zhǒng zhǒng， dū gěi xiǎo shuō zēng jiā liǎo yī céng shén mì sè cǎi。 jì shì xiǎo shuō， rén wù dāng rán shì xū gòu de， zuò jiājǐ“ yīng wǔ luó” hào tǐng cháng qǔ de lā dīng wén míng zì， gèng míng bái wú wù dì zhǐ chū liǎo zhè yī diǎn héng héng“ nèi mò”， zài lā dīng wén lǐ shì zǐ xū wū yòu de yì sī。 dàn zhè bìng méi yòu fáng 'ài zuò zhě bǎ tā miáo xiě chéng yī gè yòu xuè yòu ròu、 ràng dú zhě jué dé kě xìn de rén wù。 běn shū zuò zhě rú lè · fán 'ěr nà (1828 héng 1905) shì fǎ guó kē huàn xiǎo shuō jiā， xiàn dài kē huàn xiǎo shuō de zhòng yào diàn jī rén。 tā chū shēng zài yī gè lǜ shī jiā tíng， hěn xiǎo de shí hòu jiù chǎn shēng liǎo qiáng liè de tàn suǒ yù wàng hé fēng fù de xiǎng xiàng lì。 tā bó lǎn qún shū， hòu jī bó fā， dì yī bù kē huàn xiǎo shuō《 qì qiú shàng de wǔ xīng qī》， yī pào dǎ xiǎng， yǐn qǐ hōng dòng， shǐ tā chéng liǎo gè jiā yù hù xiǎo de rén wù。 tā hòu lái yī fā 'ér bù kě shōu， yòu xiě liǎo yī xì liè kē xué huàn xiǎng mào xiǎn xiǎo shuō， juàn zhì hào fán， bù xià liù qī shí zhǒng， bèi shōu rù yī tào míng wéi《 qí yì de lǚ xíng》 de cóng shū。《 hǎi dǐ liǎng wàn lǐ》 shì fán 'ěr nà zhù míng sān bù qū de dì 'èr bù， qián yòu《 gé lán tè chuán cháng de 'ér nǚ》， hòu yòu《 shén mì dǎo》。 zuò zhě xiǎng xiàng lì fēng fù， wén bǐ xì nì， gòu sī qí qiǎo， qí zuò pǐn jì yǐn rén rén shèng， yòu hěn yòu jiào yù yì yì， shì hé gè zhǒng nián líng de dú zhě。 ér qiě， fán 'ěr nà de huàn xiǎng bù shì yì xiǎng tiān kāi， dū yǐ kē xué wéi yǐ jù； tā suǒ yù jiàn dào de hěn duō qì xiè， hòu láidōu biàn chéng liǎo xiàn shí shēng huó zhōng de shí yòu zhī wù。
hǎi dǐ liǎng wàn lǐ - zuò zhě jiè shào
rú lè · fán 'ěr nà（ Jules Verne， 1828.2.8.??1905） shēng yú fǎ guó xī bù hǎi gǎng nán tè， tā zài gòu chéng shì qū yī bù fēn de láo 'ā 'ěr hé shàng de fěi yī dé dǎo shēng huó xué xí dào zhōng xué bì yè。 fù qīn shì wèi pō wéi chéng gōng de lǜ shī， yī xīn xī wàng zǐ chéng fù yè。 dàn shì fán 'ěr nà zì yòu rè 'ài hǎi yáng， xiàng wǎng yuǎn háng tàn xiǎn。 11 suì shí， tā céng zhì yuàn shàng chuán dāng jiàn xí shēng， yuǎn háng yìn dù， jiēguǒ bèi jiā rén fā xiàn jiē huí liǎo jiā。 wèicǐ fán 'ěr nà 'āi liǎo yī dùn hěn zòu， bìng tǎng zài chuáng shàng liú zhe lèi bǎo zhèng：“ yǐ hòu bǎo zhèng zhǐ tǎng zài chuáng shàng zài huàn xiǎng zhōng lǚ xíng。” yě xǔ zhèng shì yóu yú zhè yī tóng nián de jīng lì， kè guān shàng cù shǐ fán 'ěr nà yī shēng chí chěng yú huàn xiǎng zhī zhōng， chuàng zuò chū rú cǐ zhòng duō de zhù míng kē huàn zuò pǐn。
hǎi dǐ liǎng wàn lǐ hǎi dǐ liǎng wàn lǐ
18 suì shí， tā zūn fù zhǔ， qù bā lí gōng dú fǎ lǜ， kě shì tā duì fǎ lǜ háo wú xīng qù， què 'ài shàng liǎo wén xué hé xì jù。 yī cì， fán 'ěr nà zì yīcháng wǎn huì zǎo tuì， xià lóu shí tā hū rán tóng xīn dà fā， yán lóu tī fú shǒu yōu rán huá xià， bù xiǎng zhèng zhuàng zài yī wèi pàng shēn shì shēn shàng。 fán 'ěr nà fēi cháng gān gà， dào qiàn zhī hòu suí kǒu xún wèn duì fāng chī fàn méi yòu， duì fāng huí dá shuō gāng chī guò nán tè chǎo jī dàn。 fán 'ěr nà tīng bà yáo tóu， shēng chēng bā lí gēn běn méi yòu zhèng zōng de nán tè chǎo jī dàn， yīn wéi tā jí nán tè rén 'ér qiě ná shǒu cǐ cài。 pàng shēn shì wén yán dà xǐ， chéng yāo fán 'ěr nà dēng mén xiàn yì。 èr rén yǒu yì cóng cǐ kāi shǐ， bìng yī dù hé xiě xì jù， wéi fán 'ěr nà zǒu shàng chuàng zuò zhī lù chuàng zào liǎo yòu lì tiáo jiàn。 zhè wèi pàng shēn shì de míng zì shì dà zhòng mǎ。 bì yè hòu， tā gèng shì yī mén xīn sī tóu rù shī gē hé xì jù de chuàng zuò， wèicǐ bù jǐn shòu dào fù qīn de yán lì xùn chì， bìng shī qù liǎo fù qīn de jīng jì zī zhù。 tā bù dé bù zài pín kùn zhōng fèn dǒu， yǐ dú shū wéi lè。 tā shí fēn xīn shǎng yǔ guǒ、 bā 'ěr zhā kè、 dà zhòng mǎ hé yīng guó de suō shì bǐ yà。 zài bā lí， tā chuàng zuò liǎo 20 gè jù běn（ wèi chū bǎn） hé yī xiē chōng mǎn làng màn jī qíng de shī gē。
hòu lái， fán 'ěr nà yǔ dà zhòng mǎ hé zuò chuàng zuò liǎo jù běn《 zhé duàn de mài gǎn》 bìng dé yǐ shàng yǎn， zhè biāo zhì zhe fán 'ěr nà zài wén xué jiè qǔ dé liǎo chū bù de chéng gōng。 zài jì xù chuàng zuò de guò chéng zhōng， fán 'ěr nà gǎn dào wén xué chuàng zuò sì hū quē fá chū lù， ér qiě tā fā xiàn dāng shí wén tán shàng de réndōu zài zhǎo chū lù， dōuzài shì tú bǎ qí tā lǐng yù de zhī shí róng jìn xì jù。 bǐ rú dà zhòng mǎ shì jiāng lì shǐ xué róng jìn wén xué， ér bā 'ěr zhā kè zé bǎ shè huì lún lǐ xué róng jìn wén xué…… zhè shí fán 'ěr nà fā xiàn， zhǐ shèng xià dì lǐ xué hái méi yòu bèi kāi fā。
yú shì fán 'ěr nà lì yòng yī nián de shí jiān jìn xíng shì yàn， chuàng zuò chū《 bīng chuān shàng miàn guò dōng》 děng zuò pǐn， dàn wèi fā biǎo。
1856 nián fán 'ěr nà chéng huǒ chē lái dào běi bù chéng shì yà mián， yù dào yī míng dài zhe liǎng gè hái zǐ de piào liàng guǎ fù， yī jiàn zhōng qíng bìng qiú hūn， jì 'ér jié hūn。 jiē zhe fán 'ěr nà bān jiā guò qù， cóng cǐ kāi shǐ rèn zhēn chuàng zuò。 qí shí 29 suì。
fán 'ěr nà chuàng zuò chū《 qì qiú shàng de wǔ xīng qī》 hòu， 16 jiā chū bǎn shè wú rén lǐ cǎi， fèn rán tóu rù huǒ zhōng， bèi qī zǐ qiǎng jiù chū lái， sòng rù dì 17 jiā chū bǎn shè hòu bèi chū bǎn。 shǎng shí cǐ shū de biān ji jiào hè cí 'ěr， cóng cǐ fán 'ěr nà yù dào liǎo zhī yīn， yǔ zhī jié xià zhōng shēn yǒu yì。 hēi gé 'ěr yǔ fán 'ěr nà qiān dìng hé tóng， yī nián wéi qí chū bǎn liǎng běn kē huàn xiǎo shuō。
《 qì qiú shàng de wǔ xīng qī》 chū bǎn zhī hòu， fán 'ěr nà de chuàng zuò jìn rù liǎo yī gè duō fāng miàn de tàn suǒ shí qī， tā shì yàn duō zhǒng xiě fǎ， cháo duō zhǒng fāng xiàng jìn xíng tàn suǒ， yī fā bù kě shōu shí。 měi nián chū bǎn liǎng běn， zǒng biāo tí wéi《 qí yì de lǚ xíng》， bāo kuò《 dì xīn yóu jì》《 cóng dì qiú dào yuè qiú》《 huán rào yuè qiú》《 hǎi dǐ liǎng wàn lǐ》《 shén mì dǎo》 děng děng， náng kuò liǎo lù dì、 hǎi yáng hé tiān kōng…… cǐ hòu tàn suǒ tíng zhǐ， kāi shǐ chéng shú， jìn rù píng wěn de fā zhǎn shí qī， chuàng zuò chū《 80 tiān huán rào dì qiú》《 tài yáng xì lì xiǎn jì》（ zhōng yì《 dà mù fá》）《 liǎng nián jiàqī》 děng yōu xiù zuò pǐn。 suí zhe shēng wàng de zēng gāo， fán 'ěr nà de cái fù yě zài xùn sù zēngzhǎng。
fán 'ěr nà de wǎn nián bù shì shí fēn xìng fú， chuàng zuò jiǎn shǎo bìng jìn rù shuāi ruò qī， qí《 kǎ 'ěr bā qiān de gǔ bǎo》 yòu yī dìng de zì chuán xìng， biǎo xiàn liǎo shēng huó zhōng yǐn mì de cè miàn。
1905 nián 3 yuè 17 rì fán 'ěr nà chū xiàn piān tān， 24 rì shī qù zhī jué， 25 rì chén 8:00 qù shì。
1905 nián 3 yuè 28 rì dà chū bìn， quán shì jiè fēn fēn diàn yàn， dào niàn zhè wèi wěi dà de kē huàn zuò jiā。
fán 'ěr nà de gù shì shēng dòng yōu mò， miào yǔ héng shēng， yòu néng jī fā rén men yóu qí shì qīng shàonián rè 'ài kē xué、 xiàng wǎng tàn xiǎn de rè qíng， suǒ yǐ yī bǎi duō nián lái， yī zhí shòu dào shì jiè gè dì dú zhě de huān yíng。 jù lián hé guó jiào kē wén zǔ zhì de zī liào biǎo míng， fán 'ěr nà shì shì jiè shàng bèi fān yì de zuò pǐn zuì duō de shí dà míng jiā zhī yī。
fán 'ěr nà shì yī gè fēi cháng yōu xiù de tōng sú xiǎo shuō zuò jiā， yòu yī zhǒng néng gòu bǎ zì jǐ de huàn jué biàn dé néng gòu chù mō de běn lǐng， qí gǎn jué shì quán fāng wèi de， cóng píng dàn de wén xué zhōng chuán dá chū mǒu zhǒng rén lèi de rè qíng。 dàn fán 'ěr nà de xiǎo shuō zhōng rén wù chú liǎo shǎo shù jǐ gè wài dōushì yī mó yī yàng de， tā sì hū sù zào bù chū gèng zhòng yào de rén wù， rén wù dōushì liǎn pǔ huà de jiǎn dān de hǎo rén huài rén， méi yòu shénme xīn lǐ huó dòng； cóng qí zuò pǐn rén wù xìng bié dān yī huà shàng hái kě kàn chū tā duì nǚ rén de piān jiàn， yǐn yǐn liú lù chū shēn shòu qí kǔ de xīn tài。 cǐ wài fán 'ěr nà de zuò pǐn zhōng chōng mǎn liǎo míng xiǎn de shè huì qīng xiàng， shì yī gè 'ài guó zhě（ fǎ guó rén zuì hǎo）、 mín zú jiě fàng zhù yì zhě（ zhī chí bèi yā pò mín zú dǒu zhēng）， zài mǒu zhǒng chéng dù shàng shì yī gè wú zhèng fǔ zhù yì zhě（ cóng mǒu xiē zuò pǐn zhōng biǎo xiàn chū wú zhì xù zhě）， zuì hòu hái shì yī gè yín hé dì guó zhù yì zhě（ yòu dì zào yǔ zhòu dì guó de yù wàng）。
fán 'ěr nà de zuò pǐn lǐ chōng mǎn liǎo zhī shí， dàn tā běn rén què shì yī míng yǔ zhòu shén mì zhù yì zhě， duì shì jiè yòu yī zhǒng shén mì de chóng bài。 zài tā de xiǎo shuō zhōng， yòu shí hòu sī kǎo wèn tí bù gòu shēn kè， zhù tí yě cháng cháng chóngfù。
dàn zǒng de lái shuō， fán 'ěr nà de cháng shì réng rán shì wěi dà de。 tā xiě de suī rán dōushì píng fán xiǎo shì， dàn dú hòu réng shǐ wǒ men jī dòng bù yǐ。 zhèng rú 1884 nián jiào huáng zài jiē jiàn fán 'ěr nà shí céng shuō：“ wǒ bìng bù shì bù zhī dào nín de zuò pǐn de kē xué jià zhí， dàn wǒ zuì zhēn zhòng de què shì tā men de chún jié、 dào dé jià zhí hé jīng shén lì liàng。”
hǎi dǐ liǎng wàn lǐ - zuò pǐn tè diǎn
《 hǎi dǐ liǎng wàn lǐ》 shì yī bù kē huàn xiǎo shuō， yú yī bā qī 0 nián wèn shì， jì jīn yǐ yú bǎi nián， ér réng néng yǐ duō zhǒng wén zì de gè zhǒng bǎn běn fēng xíng shì jiè， guǎng
hǎi dǐ liǎng wàn lǐ hǎi dǐ liǎng wàn lǐ
yòu dú zhě， jǐn cǐ yī duān， jí kě jiàn qí shēng mìng lì zhī qiáng， xī yǐn lì zhī dà。 zhù zhāng shū bù jí bǎi suì bù kàn de dú zhě， shì dà kě fàng xīn yī yuè de。 shū zhōng rén wù liáo liáo， yòu míng yòu xìng de zhǐ yòu sì gè bàn héng héng“ yà bó lā hǎn · lín kěn” hào qū zhú jiàn jiàn cháng fǎ lā gé tè， zhǐ zài xiǎo shuō kāi tóu bù fēn tán huā yī xiàn， gū qiě suàn bàn gè； nèi jǐng zhǐ shì yī sōu qián shuǐ tǐng。 dàn jiù shì zhè me sì gè bàn rén， zhè me yī sōu qián shuǐ tǐng， yī gè shén mì de chuán cháng , yī gè xué fù wǔ chē de kē xué jiā , zài gè zhǒng tàn xiǎn lì chéng zhōng , zài jiāng jìn yī nián de shí jiān zhōng， zòng héng hǎi dǐ liǎng wàn lǐ， wèiwǒ men yǎn yì chū yī gè gè gù shì， zhǎn xiàn chū yī fú fú huà miàn , hǎi dǐ mù dì , shān hú gǔ , jù xíng zhāng yú…… gù shì qū zhé jīng xiǎn， yǐn rén rù shèng， huà miàn duō zī duō cǎi， qì xiàng wàn qiān。 zhè yàng yī bù xiǎo shuō， dú lái jì shǐ rén shǎng xīn yuè mù， yě lìng rén dòng bó jīng xīn。 lìng rén yǒng shēng nán wàng， bù kuì wéi yī bù shì jiè míng zhù。 bǎi kàn bù yàn。
《 hǎi dǐ liǎng wàn lǐ》 xiě de zhù yào shì tā men zài zhè shí gè yuè lǐ de jīng lì。《 hǎi dǐ liǎng wàn lǐ》 yǐ jīng yòu jǐ zhǒng zhōng yì běn，“ liǎng wàn lǐ” yě jiù chéng liǎo gè yuē dìng sú chéng de shuō fǎ； jiū qí shí， zhè lǐ de“ lǐ” zhǐ de shì fǎ guó gǔ lǐ， ér gǔ fǎ lǐ yòu yòu hǎi lù zhī fēn， yī gǔ hǎi lǐ yuē hé 5.556 gōng lǐ， yī gǔ lù lǐ yuē hé 4.445 gōng lǐ； jì rán shì zài hǎi dǐ zhōu yóu， zhè lǐ de liǎng wàn lǐ， lǐ yìng wéi liǎng wàn gǔ hǎi lǐ。
rú cǐ shuō lái， tā men zài hǎi dǐ xíng shǐ de lù chéng， jiù yīnggāi zài shí yī wàn gōng lǐ yǐ shàng liǎo。 zhè shì yào shuō míng de。 shí yī wàn gōng lǐ de xíng chéng， shì gè dà chǎng miàn， yī lù suǒ jiàn， kě yǐ shuō wú qí bù yòu。 shuí jiàn guò hǎi dǐ sēn lín ? shuí jiàn guò hǎi dǐ méi kuàng ? shuí jiàn guò“ yǎng” zài bèi ké lǐ、 jià zhí lián chéng de dà zhēn zhū ? dāng liǎo fú lǔ de 'ā lóng nà sī hé tā de péng yǒu mendōu jiàn dào liǎo， ér qiě céng jīng cháng yáng qí jiān。 tā men zài yìn dù yáng de zhū chǎng hé shā yú zhǎn kāi guò bó dǒu， bǔ jīng shǒu nèi dé · lán shǒu rèn liǎo yī tiáo xiōng 'è de jù shā； tā men zài hóng hǎi lǐ zhuī bǔ guò yī tiáo bīn yú jué zhǒng de rú gèn， rú gèn ròu dāng wǎn jiù bèi duān shàng liǎo cān zhuō； tā men zài dà xī yáng lǐ hèzhāng yú jìn xíng guò xuè zhàn， yī míng chuán yuán cǎn sǐ； zhè xiē chǎng miàn， dū shí fēn jīng xīn dòng bó。 cǐ wài， shū zhōng hái miáo xiě liǎo mǒ xiāng jīng rú hé cán shā cháng xū jīng，“ yīng wǔ luó” hào qián tǐng yòu shì rú hé shā sǐ chéng qún de mǒ xiāng jīng de， nà qíng jǐng yě shí fēn hǎn jiàn。
ā luó nà kè sī shì gè shēng wù xué jiā， bó gǔ tōng jīn， chéng qián tǐng zài shuǐ xià háng xíng， shǐ tā bǎo lǎn liǎo hǎi yáng lǐ de gè zhǒng dòng zhí wù； tā hé tā nà wèi duì fēn lèi xué rù liǎo mí de pú rén kāng sài 'ěr， jiāng zhè xiē hǎi yáng shēng wù xiàng wǒ men zuò liǎo xiáng shí de jiè shào， jiè、 mén、 gāng、 mù、 kē、 shǔ、 zhǒng， shuō dé jǐng jǐng yòu tiáo， shǐ dú zhě rèn shí liǎo xǔ duō hǎi yáng shēng wù； ā luó nà kè sī hái bǎ zài hǎi yáng zhōng jiàn dào de zhǒng zhǒng qí guān， yī yī wěi wěi dào lái， lìng dú zhě dà kāi yǎn jiè， zhī dào liǎo shénme shì tài píng yáng hēi liú， shénme shì mò xī gē nuǎn liú， jù fēng shì zěn yàng xíng chéng de， mǎyǐ zǎo hǎi yòu shì shénme yàng…… wǒ men zhī dào shān hú jiāo shì zěn yàng xíng chéng de má ? zhī dào hǎi yáng jiū jìng yòu duō shēn má ? zhī dào hǎi shuǐ chuán bō shēng yīn de sù dù yòu duō kuài má ? zhè yī lèi zhī shí， shū zhōng bǐ bǐ jiē shì。
“ yīng wǔ luó” hào yě céng yù xiǎn， zài shān hú jiāo shàng gē guò qiǎn， shòu dào guò bā bù yà tǔ zhù de xí jī， zuì kě pà de shì， zài nán jí bèi hòu hòu de bīng céng kùn zhù， tǐng nèi quē yǎng， tǐng shàng de rén jīhū bù néng shēng hái。 dàn shì， píng zhe qián tǐng de jīng liáng gòu zào hé tǐng cháng de chāo rén zhì huì， zhǒng zhǒng xiǎn jìng， jūn bèi huà jiě， zhōng yú wán chéng liǎo shí yī wàn gōng lǐ de hǎi dǐ xíng chéng。 fán 'ěr nà shí dài， qián shuǐ tǐng gāng gāng miàn shì， hái shì yī zhǒng shén mì de dōng xī；“ yīng wǔ luó” hào tǐng cháng ní mó yòu shì gè shēn shì bù míng zhī rén， tā táo bì rén lèi， zhé jū hǎi dǐ， ér yòu yǐn yǐn yuē yuē hé lù dì shàng de mǒu xiē rén yòu yī zhǒng tè shū lián xì。 fán cǐ zhǒng zhǒng， dū gěi xiǎo shuō zēng jiā liǎo yī céng shén mì sè cǎi。
jì shì xiǎo shuō， rén wù dāng rán shì xū gòu de， zuò jiājǐ“ yīng wǔ luó” hào tǐng cháng qǔ de lā dīng wén míng zì， gèng míng bái wú wù dì zhǐ chū liǎo zhè yī diǎn héng héng“ ní mó”（ Nemo）， zài lā dīng wén lǐ shì zǐ xū wū yòu de yì sī。 dàn zhè bìng méi yòu fáng 'ài zuò zhě bǎ tā miáo xiě chéng yī gè yòu xuè yòu ròu、 ràng dú zhě jué dé kě xìn de rén wù。
Title
The title refers to the distance traveled under the sea and not to a depth, as 20,000 leagues is over 2.5 times the circumference of the earth. The greatest depth mentioned in the book is four leagues. A literal translation of the French title would end in the plural "seas", thus implying the "seven seas" through which the characters of the novel travel. However, the early English translations of the title used "sea", meaning the ocean in general, as in "going to sea".
Plot summary
The story opens in the year 1866. Everyone in Europe and America is talking about a mysterious creature that has been sinking ships. Finally, the United States government decides to intervene and commissions the Abraham Lincoln to capture and identify the creature. On board the ship are Pierre Aronnax, a renowned scientist along with his manservant, Conseil, and Ned Land the king of harpooners. The Abraham Lincoln is attacked by the creature. Aronnax, Conseil and Land go overboard. The three men find themselves on top of the mysterious creature, which is actually a submarine vessel. They are taken on board and placed in a cell. The men meet Captain Nemo, the commander of the vessel, known as the Nautilus. He tells them they can stay on board the ship and enjoy freedom as long as they return to the cell if asked. They are never to leave the vessel again. Ned Land says he will not promise that he will not try to escape. Captain Nemo treats the men, especially Aronnax, very well. They are clothed and fed and may wander around the vessel at their leisure. Aronnax is thrilled by Nemo’s vast library. The men spend their time observing sea life through observation windows. Aronnax studies and writes about everything he sees.
During their time on the Nautilus, the men experience exciting adventures. They hunt in underwater forests, visit an island with angry natives, visit the lost city of Atlantis, and fish for giant pearls. However, there are also many distressing events coupled with the erratic behavior of Captain Nemo. One night the men are asked to return to their cell. They are given sleeping pills and awake the next morning very confused. Nemo asks Aronnax to look at a crewman who has been severely injured. The man later dies and they bury him in an underground cemetery, where many other crewmen have been laid to rest. On a voyage to the South Pole, the Nautilus becomes stuck in the ice. Everyone must take turns trying to break a hole in the ice so the vessel can get through. The ship almost runs out of its oxygen supply and the men grow tired and light headed. However, they escape just in time. Another time, the vessel sails through an area heavily populated by giant squid, when a giant squid gets stuck in the propeller of the submarine. The men and the crew must fight off the squid with axes because they cannot be killed with bullets. While fighting, a crewmember is killed by a squid. Nemo is moved to tears. The rising action of the story begins with Nemo’s attack on a warship. Aronnax does not know to which nation the warship belongs, but he is horrified when Captain Nemo sinks it. The men decide they must escape at all costs. One night, while off the coast of Norway, Aronnax, Conseil and Land plan a rash escape. To their dismay they realize they are heading toward a giant whirlpool—one that no ship has ever survived. Amazingly, in only a small dinghy they emerge safely. They awake in the hut of a fisherman. At the conclusion of the story, Aronnax is awaiting his return to France and rewriting his memoirs of his journey under the sea.
Title page (1871)
Themes and subtext
Captain Nemo's name is a subtle allusion to Homer's Odyssey, a Greek epic poem. In The Odyssey, Odysseus meets the monstrous cyclops Polyphemus during the course of his wanderings. Polyphemus asks Odysseus his name, and Odysseus replies that his name is "Utis" (ουτις), which translates as "No-man" or "No-body". In the Latin translation of the Odyssey, this pseudonym is rendered as "Nemo", which in Latin also translates as "No-man" or "No-body". Similarly to Nemo, Odysseus is forced to wander the seas in exile (though only for 10 years) and is tormented by the deaths of his ship's crew.
The preface of a new English edition[citation needed] of the book has a theory that Nemo's name was in part inspired by Jules Verne visiting Scotland and there coming across Scotland's national motto Nemo me impune lacessit, correctly meaning "No one attacks me with impunity", but reinterpreted by Verne as "Nemo attacks me with impunity".
Commander Matthew Fontaine Maury, "Captain Maury" in Verne's book, a real-life oceanographer who explored the winds, seas, currents, and collected samples of the bottom of the seas and charted all of these things, is mentioned a few times in this work by Jules Verne. Jules Verne certainly would have known of Matthew Maury's international fame and perhaps Maury's French ancestry.
References are made to three other Frenchmen. Those are Jean-François de Galaup, comte de La Pérouse, a famous explorer who was lost while circumnavigating the globe; Dumont D'Urville, the explorer who found the remains of the ill-fated ship of the Count; and Ferdinand Lesseps, builder of the Suez Canal and the nephew of the man who was the sole survivor of De Galaup's expedition. Verne was an investor in Lesseps to build the French sea level crossing in Panama. The Nautilus seems to follow the footsteps of these men: She visits the waters where De Galaup was lost; she sails to Antarctic waters and becomes stranded there, just like D'Urville's ship, the Astrolabe; and she passes through an underwater tunnel from the Red Sea into the Mediterranean.
The crew of the Nautilus observes an underwater funeral.
The most famous part of the novel, the battle against the school of giant squid, begins when a crewman opens the hatch of the boat and gets caught by one of the monsters. As he is being pulled away by the tentacle that has grabbed him, he yells "Help!" in French. At the beginning of the next chapter, concerning the battle, Aronnax states that: "To convey such sights, one would take the pen of our most famous poet, Victor Hugo, author of The Toilers of the Sea". The Toilers of the Sea also contains an episode where a worker fights a giant octopus, wherein the octopus symbolizes the Industrial Revolution. It is probable that Verne borrowed the symbol, but used it to allude to the Revolutions of 1848 as well, in that the first man to stand against the "monster" and the first to be defeated by it is a Frenchman.
In several parts of the book, Captain Nemo is depicted as a champion of the world's underdogs and downtrodden. In one passage Captain Nemo is mentioned as providing some help to Greeks rebelling against Ottoman rule during the Cretan Revolt of 1866–1869, proving to Arronax that after all he had not completely severed all relations with mankind outside the Nautilus. In another passage, Nemo takes pity on a poor Indian pearl diver who must do his diving without the sophisticated diving suit available to the submarine's crew, and who is doomed to die young due to the cumulative effect of diving on his lungs; Nemo approaches him underwater and gives him a whole pouch full of pearls, more than he could have gotten in years of his dangerous work.
Some of Verne's ideas about the not-yet-existing submarines which were laid out in this book turned out to be prophetic, such as the high speed and secret conduct of today's nuclear attack submarines, and (with diesel submarines) the need to surface frequently for fresh air. However, Verne evidently had no idea of the problems of water pressure, depicting his submarine as capable of diving freely even into the deepest of ocean deeps, where in reality it would have been instantly crushed by the weight of water above it, and with humans in diving suits able to emerge and walk along the deep ocean floor where they would have died quickly because of physiological effects of depth pressure and their breathing sets not working because of the pressure (see Diving hazards and precautions).
Model of the 1863 French Navy submarine Plongeur at the Musée de la Marine, Paris.
The Nautilus as imagined by Jules Verne.
Verne took the name "Nautilus" from one of the earliest successful submarines, built in 1800 by Robert Fulton, who later invented the first commercially successful steamboat. Fulton's submarine was named after the paper nautilus because it had a sail. Three years before writing his novel, Jules Verne also studied a model of the newly developed French Navy submarine Plongeur at the 1867 Exposition Universelle, which inspired him for his definition of the Nautilus. The world's first operational nuclear-powered submarine, the United States Navy's USS Nautilus (SSN-571) was named for Verne's fictional vessel.
Verne can also be credited with glimpsing the military possibilities of submarines, and specifically the danger which they possessed for the naval superiority of the British Navy, composed of surface warships. The fictional sinking of a ship by Nemo's Nautilus was to be enacted again and again in reality, in the same waters where Verne predicted it, by German U-boats in both World Wars.
The breathing apparatus used by Nautilus divers is depicted as an untethered version of underwater breathing apparatus designed by Benoit Rouquayrol and Auguste Denayrouze in 1865. They designed a diving set with a backpack spherical air tank that supplied air through the first known demand regulator. The diver still walked on the seabed and did not swim. This set was called an aérophore (Greek for "air-carrier"). Air pressure tanks made with the technology of the time could only hold 30 atmospheres, and the diver had to be surface supplied; the tank was for bailout. The durations of 6 to 8 hours on a tankful without external supply recorded for the Rouquayrol set in the book are greatly exaggerated.
No less significant, though more rarely commented on, is the very bold political vision (indeed, revolutionary for its time) represented by the character of Captain Nemo. As revealed in the later Verne book The Mysterious Island, Captain Nemo is a descendant of Tipu Sultan (a Muslim ruler of Mysore who resisted the British Raj), who took to the underwater life after the suppression of the 1857 Indian Mutiny, in which his close family members were killed by the British.
This change was made on request of Verne's publisher, Pierre-Jules Hetzel (who is known to be responsible for many serious changes in Verne's books), since in the original text the mysterious captain was a Polish nobleman, avenging his family who were killed by Russians. They had been murdered in retaliation for the captain's taking part in the Polish January Uprising (1863). As France was allied with Tsarist Russia, to avoid trouble the target for Nemo's wrath was changed to France's old enemy, the British Empire. It is no wonder that Professor Pierre Aronnax does not suspect Nemo's origins, as these were explained only later, in Verne's next book. What remained in the book from the initial concept is a portrait of Tadeusz Kościuszko (a Polish national hero, leader of the uprising against Russia in 1794) with inscription in Latin: "Finis Poloniae!".
The national origin of Captain Nemo was changed during most movie realizations; in nearly all picture-based works following the book he was made into a European. Nemo was represented as an Indian by Omar Sharif in the 1973 European miniseries The Mysterious Island. Nemo is also depicted as Indian in a silent film version of the story released in 1916 and later in both the graphic novel and the movie The League of Extraordinary Gentlemen.
Recurring themes in later books
Jules Verne wrote a sequel to this book: L'Île mystérieuse (The Mysterious Island, 1874), which concludes the stories begun by Twenty Thousand Leagues Under The Sea and In Search of the Castaways. It should be noted that, while The Mysterious Island seems to give more information about Nemo (or Prince Dakkar), it is muddied by the presence of several irreconcilable chronological contradictions between the two books and even within The Mysterious Island.
Verne returned to the theme of an outlaw submarine captain in his much later Facing the Flag. That book's main villain, Ker Karraje, is a completely unscrupulous pirate, acting purely and simply for gain, completely devoid of all the saving graces which gave Nemo — for all that he, too, was capable of ruthless killings — some nobility of character.
Like Nemo, Ker Karraje plays "host" to unwilling French guests — but unlike Nemo, who manages to elude all pursuers, Karraje's career of outlawry is decisively ended by the combination of an international task force and the rebellion of his French captives. Though also widely published and translated, it never attained the lasting popularity of Twenty Thousand Leagues.
More similar to the original Nemo, though with a less finely worked-out character, is Robur in Robur the Conqueror - a dark and flamboyant outlaw rebel using an aircraft instead of a submarine — later used as a basis for the movie Master of the World.
Translations
The novel was first translated into English in 1873 by Reverend Lewis Page Mercier (aka "Mercier Lewis"). Mercier, under orders from British censors and performed or dictated by his editors at Sampson Low, cut nearly a quarter of Verne's original text and made hundreds of translation errors, sometimes dramatically changing the meaning of Verne's original intent. Some of these bowdlerizations may have been done for political reasons, such as Nemo's identity and the nationality of the two warships he sinks, or the portraits of freedom fighters on the wall of his cabin which originally included Daniel O'Connell. Nonetheless it became the "standard" English translation for more than a hundred years, while other translations continued to draw from it — and its mistakes, especially the mistranslation of the title; the French title actually means Twenty Thousand Leagues under the Seas.
A modern translation was produced in 1966 by Walter James Miller and published by Washington Square Press. Many of Mercier's changes were addressed in the translator's preface, and most of Verne's text was restored.
Many of the "sins" of Mercier were again corrected in a from-the-ground-up re-examination of the sources and an entirely new translation by Walter James Miller and Frederick Paul Walter between 1989 and 1991, published in 1993 by Naval Institute Press in a "completely restored and annotated edition." But, it has a new error: in it the French word scaphandrier, which in this book means one of Captain Nemo's divers in kit similar to an old-type heavy standard diving suit but with an independent air supply, is everywhere wrongly translated "frogman". F. P. Walter's own translation was published in 2009 with the title Twenty Thousand Leagues under the Seas (ISBN 978-1-904808-28-2)
shàng gè shì jì dàoshǔ dì sān nián de 3 yuè 19 rì， yóuchāi wéi méng tè lì 'ěr shì yǎ kè héng kǎ dì 'āi dà jiē sòng xìn， gěi 29 hào sòng qù yī fēng zhì sà mǐ · sī jīn xiān shēng de xìn。
zhè fēng xìn zhōng shuō：
sī nà bīn xiān shēng xiàng sà mǐ · sī jīn xiān shēng zhì yì， qǐng tā lì kè dào tā de bàn gōng shì lái shāng liàng yī jiàn yǔ tā yòu guān de shì qíng。
zhè wèi gōng zhèng rén yīn wèishénme shì qíng yào jiàn sà mǐ · sī jīn xiān shēng ní？ sī jīn xiān shēng hé méng tè lì 'ěr de suǒ yòu de rén yī yàng yě rèn shí sī nà bīn， hòu zhě shì yī wèi hěn hǎo de rén， yī wèi kě kào de、 jǐn shèn de gù wèn。 tā chū shēng zài jiā ná dà， lǐng dǎo zhe chéng shì zuì hǎo de shì wù suǒ。 zhè gè shì wù suǒ 60 nián qián guī zhī gè de gōng zhèng rén ní kè suǒ yòu， cǐ rén de zhēn shí xìng míng shì ní gǔ lā · sà jiā mò 'ěr。 zhè wèi zǔ xiān wéi xiū lún rén① de gōng zhèng rén shí fēn 'ài guó， cóng 'ér juǎnrù liǎo kě pà de mò jiā cí shì jiàn②， zhè yī shì jiàn zài 1837 nián yǐn qǐ jí dà de fǎn xiǎng。
zhè fēng xìn zhōng shuō：
sī nà bīn xiān shēng xiàng sà mǐ · sī jīn xiān shēng zhì yì， qǐng tā lì kè dào tā de bàn gōng shì lái shāng liàng yī jiàn yǔ tā yòu guān de shì qíng。
zhè wèi gōng zhèng rén yīn wèishénme shì qíng yào jiàn sà mǐ · sī jīn xiān shēng ní？ sī jīn xiān shēng hé méng tè lì 'ěr de suǒ yòu de rén yī yàng yě rèn shí sī nà bīn， hòu zhě shì yī wèi hěn hǎo de rén， yī wèi kě kào de、 jǐn shèn de gù wèn。 tā chū shēng zài jiā ná dà， lǐng dǎo zhe chéng shì zuì hǎo de shì wù suǒ。 zhè gè shì wù suǒ 60 nián qián guī zhī gè de gōng zhèng rén ní kè suǒ yòu， cǐ rén de zhēn shí xìng míng shì ní gǔ lā · sà jiā mò 'ěr。 zhè wèi zǔ xiān wéi xiū lún rén① de gōng zhèng rén shí fēn 'ài guó， cóng 'ér juǎnrù liǎo kě pà de mò jiā cí shì jiàn②， zhè yī shì jiàn zài 1837 nián yǐn qǐ jí dà de fǎn xiǎng。
“ qǐng jìn kuài lái， qīn 'ài de hēng lì。 wǒ jíqiè dì pàn wàng nǐ de dào lái。 xiōng yá lì nán bù dì qū jǐng sè měi lì mí rén， yī dìng huì shǐ yī wèi gōng chéng shī liú lián wàng fǎn。 nǐ huì bù xū cǐ xíng de。
zhōng xīn zhù fú nǐ！
mǎ kè · wéi dá 'ěr”
shì de， wǒ duì cǐ cì lǚ xíng sī háo bù gǎn dào hòu huǐ。 dàn wǒ shì fǒu yòu bì yào jiǎng chū lái ràng dà jiā fēn xiǎng？ hái shì zhǐ zì bù tí de hǎo？ qí shí， shuō chū lái yòu huì yòu shuí xiāng xìn ní？
zhōng xīn zhù fú nǐ！
mǎ kè · wéi dá 'ěr”
shì de， wǒ duì cǐ cì lǚ xíng sī háo bù gǎn dào hòu huǐ。 dàn wǒ shì fǒu yòu bì yào jiǎng chū lái ràng dà jiā fēn xiǎng？ hái shì zhǐ zì bù tí de hǎo？ qí shí， shuō chū lái yòu huì yòu shuí xiāng xìn ní？
ní kuāng kē huàn xiǎo shuō xuǎn ( rén tóu liàn ＋ 10)
zhāng xù zì xù biāo běn cì shā
dòng nǎo shěn wèn diào kè qiáng jiān
jìng zhēng yuǎn háng zào yīn huà shēn
táo mìng rén tóu liàn
wǔ xiá xiǎo shuō rén wù guān xì
tā hé tā de yǐng zǐ běn fū， yín fù hé jiān fū tiǎo zhàn zhě hé bèi tiǎo zhàn zhě bǔ tóu hé dà zéi
shā shǒu hé lián luò rén zhuāng jiā， shū jiā hé yíng jiā bāng zhù hé fù bāng zhù dà xiá hé sòng lǐ rén
shāo gōng hé guò dù de bǎilèi tái hé dǎlèi tái chóu rén hé bào chóu zhě yòng dú de hé zhòngdú zhě
bǎo biāo hé jié biāo zhě chán， táng láng hé huáng què
jiān yù gù shì
zhēn shí gòngcí qiān wàn zāng kuǎn bēn xiàng zì yóu gōng píng jiāo yì
tàn fǎng shí jiān rén xìng ruò diǎn bào yìng bù shuǎng jì xù nǔ lì
yī shuāng yǎn jīng
yīn móu shā rén gù shì
zhēn hé jiǎ yì hé tóng shēng hé sǐ xīn yǔ jiù
cháng jiàn de nán rén yǔ nǚ rén gù shì
cōng míng · bèn shì · bù shì mài · bù mài néng · bù néng
làn zuì · xǐng chéng shí · piàn
《 liáo zhāi zhì yì》 quán pán xiàn dài huà
kuài dāo měi rén shǒu sūn bì zhèn hóng máo zhān
guǐ qī
jiù huò xiàng gù shì
huáng tóng zhì shēn suō xíng dān tǒng wàng yuǎn jìng quē zuǐ duàn bǐng wú dǐ kuǎn yí xīng zǐ shā jiù chá hú
shěn shào 'ān kuǎn tuō tāi jīn qī wéi duǒ xiàng yún lín zǐ zhé dài zhòu tài hú shí mò zhú tú
gē yáo fěn qīng chōng 'ěr bì liè wén liù zú lú sòng kè róu shǒu zhì gé sī huā niǎo cè yè
yuán bù hū mù cǎo shū《 diǎn jiàng chún》 quán tào
xiǎng dāng nián gù shì
rén fàn ròu bó dīng shāo háo jǔ
sī bēn xíng fá pīn jiǔ
qí tā zuò pǐn
xīn biàn tōng shén yì jūn piàn tú
mì mì zhēng kōng jīn sān jiǎo nán rén nǚ rén gù shì huó mái
shí féng zhōng shén xiān shǒu gāo fēi chuán qí yóu xiá lièzhuàn chuán qí： tài xū huàn jìng
hū lún chí de wēi bō
zhāng xù zì xù biāo běn cì shā
dòng nǎo shěn wèn diào kè qiáng jiān
jìng zhēng yuǎn háng zào yīn huà shēn
táo mìng rén tóu liàn
wǔ xiá xiǎo shuō rén wù guān xì
tā hé tā de yǐng zǐ běn fū， yín fù hé jiān fū tiǎo zhàn zhě hé bèi tiǎo zhàn zhě bǔ tóu hé dà zéi
shā shǒu hé lián luò rén zhuāng jiā， shū jiā hé yíng jiā bāng zhù hé fù bāng zhù dà xiá hé sòng lǐ rén
shāo gōng hé guò dù de bǎilèi tái hé dǎlèi tái chóu rén hé bào chóu zhě yòng dú de hé zhòngdú zhě
bǎo biāo hé jié biāo zhě chán， táng láng hé huáng què
jiān yù gù shì
zhēn shí gòngcí qiān wàn zāng kuǎn bēn xiàng zì yóu gōng píng jiāo yì
tàn fǎng shí jiān rén xìng ruò diǎn bào yìng bù shuǎng jì xù nǔ lì
yī shuāng yǎn jīng
yīn móu shā rén gù shì
zhēn hé jiǎ yì hé tóng shēng hé sǐ xīn yǔ jiù
cháng jiàn de nán rén yǔ nǚ rén gù shì
cōng míng · bèn shì · bù shì mài · bù mài néng · bù néng
làn zuì · xǐng chéng shí · piàn
《 liáo zhāi zhì yì》 quán pán xiàn dài huà
kuài dāo měi rén shǒu sūn bì zhèn hóng máo zhān
guǐ qī
jiù huò xiàng gù shì
huáng tóng zhì shēn suō xíng dān tǒng wàng yuǎn jìng quē zuǐ duàn bǐng wú dǐ kuǎn yí xīng zǐ shā jiù chá hú
shěn shào 'ān kuǎn tuō tāi jīn qī wéi duǒ xiàng yún lín zǐ zhé dài zhòu tài hú shí mò zhú tú
gē yáo fěn qīng chōng 'ěr bì liè wén liù zú lú sòng kè róu shǒu zhì gé sī huā niǎo cè yè
yuán bù hū mù cǎo shū《 diǎn jiàng chún》 quán tào
xiǎng dāng nián gù shì
rén fàn ròu bó dīng shāo háo jǔ
sī bēn xíng fá pīn jiǔ
qí tā zuò pǐn
xīn biàn tōng shén yì jūn piàn tú
mì mì zhēng kōng jīn sān jiǎo nán rén nǚ rén gù shì huó mái
shí féng zhōng shén xiān shǒu gāo fēi chuán qí yóu xiá lièzhuàn chuán qí： tài xū huàn jìng
hū lún chí de wēi bō
dì 01 zhāng
dì 02 zhāng
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dì 02 zhāng
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dì 04 zhāng
dì 05 zhāng
dì 06 zhāng
dì 07 zhāng
dì 08 zhāng
dì 09 zhāng
dì 10 zhāng
dì 11 zhāng
dì 12 zhāng
dì yī jié
dì 'èr jié
dì sān jié
dì sì jié
dì wǔ jié
dì liù jié
dì qī jié
dì bā jié
dì jiǔ jié
dì shí jié
dì 'èr jié
dì sān jié
dì sì jié
dì wǔ jié
dì liù jié
dì qī jié
dì bā jié
dì jiǔ jié
dì shí jié