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.
Two Year's Holiday， zhōng wén yì míng wéi《 liǎng nián jiàqī》， zhè shì yī bù chōng mǎn chuán qí yǔ mào xiǎn de zhù zuò， tā yóu fǎ guó zhù míng zuò jiā、“ xiàn dài kē huàn xiǎo shuō zhī fù” rú lè · fán 'ěr nà biān zhù。
gù shì jiǎng shù de shì， zài yī nián de xué xí jié shù shí， lái zì xīn xī lán mǒu jì sù xué xiào de yī qún xué shēng jiāng yào kāi shǐ yī cì wéi qī jǐ tiān de háng hǎi lǚ xíng。 rán 'ér， dāng hái zǐ men bàn yè jīng xǐng shí fā xiàn， tā men de chuán yǐ jīng piào liú zài hào hàn de hǎi miàn shàng， yuán lái zài chū fā qián yè yóu chuán de lǎn shéng duàn liè liǎo。 hǎi miàn fēng làng dà zuò， ér chuán shàng jì méi yòu chuán cháng， yě méi yòu shuǐ shǒu， wēi xiǎn、 kǒng jù、 jué wàng hé gū dú lǒngzhào zhe zhěng gè yóu chuán。 chuán suí hǎi làng piào liú tíng kào zài yī zuò huāng wú rén yān de xiǎo dǎo shàng， suī rán shēn chù jiān nán jìng dì， dàn hái zǐ men hái shì píng zhe rè qíng、 lǐ xìng hé yǒng qì， zuì zhōng bǎi tuō liǎo kùn jìng huí dào zì jǐ de jiā rén shēn biān。 gù shì qíng jié diē dàng qǐ fú， ér yī lù yòu guān zì rán fēng guāng de jiè shào yě tóng yàng yǐn rén rù shèng。
gāi shū zhì jīn yǐ bèi yì chéng shì jiè shàng duō zhǒng wén zì。 shū zhōng suǒ zhǎn xiàn de shén qí gù shì bàn suí liǎo ～ dài yòu yī dài rén de měi lì tóng nián、 shàonián zhí zhì chéng nián。 wú lùn zuò wéi yǔ yán xué xí de kè běn， hái shì zuò wéi tōng sú de wén xué hé kē xué dú běn， běn shū duì dāng dài zhōng guó de qīng shàonián dū jiāng chǎn shēng jī jí de yǐng xiǎng。 wèile shǐ dú zhě néng gòu liǎo jiě yīng wén gù shì gài kuàng， jìn 'ér tí gāo yuè dú sù dù hé yuè dú shuǐ píng， zài měi zhāng de kāi shǐ bù fēn zēng jiā liǎo zhōng wén dǎo dú。
Publication
As with most of Verne's works, it was serialised (in twenty-four parts between January and December 1888) in the "Extraordinary Journeys" section of the French Magasin d’Éducation et de Récréation by Parisian publisher Hetzel. It was also published in book form in two volumes in June and early November of that year. An illustrated double volume with a colour map and a preface by Verne was released in late November.
Translations and adaptations
An English translation of the book was serialised in 36 installments in the Boy's Own Paper between 1888 and 1889.
In 1889 a two-volume English-language book titled A Two Year's Vacation was published by Munro in the United States. Later the same year, a single-volume abridged edition in the United Kingdom was released by Sampson Low under the title of Adrift in the Pacific.
In 1890, from February 22 through March 14, the Boston Daily Globe newspaper serialized Adrift in the Pacific; the Strange Adventures of a Schoolboy Crew.
In 1965 the I. O. Evens version of the Sampson Low translation was published in England (ARCO) and the U.S. (Associated Publishers) in two volumes: Adrift in the Pacific and Second Year Ashore.
In 1967 a new modified and abridged translation by Olga Marx with illustrations by Victor Ambrus titled A Long Vacation was published by Oxford University Press in the United Kingdom and Holt, Rinehart & Winston in the United States.
In 1967 Czech filmmaker Karel Zeman made a loose adaptation under the title The Stolen Airship / Ukradená vzducholod.
In 1987 a made-for-TV animation was produced by the Japanese studio Nippon Animation under the title of The Story of Fifteen Boys (Japanese: 十五少年漂流記).
Plot summary
The story starts with a group of schoolboys aged between eight and thirteen on board a schooner moored at Auckland, New Zealand, and preparing to set off on a six-week vacation. With the exception of the oldest boy Gordon, an American, and Briant and Jacques, two French brothers, all the boys are British.
While the schooner's crew are ashore, the moorings are cast off under unknown circumstances and the ship drifts to sea, where it is caught by a storm. Twenty-two days later, the boys find themselves cast upon the shore of an uncharted island, which they name "Chairman Island." They remain there for the next two years until a passing ship lands. The ship has been taken over by mutineers, intent on trafficking weapons, alcohol and drugs. With the aid of the two surviving members of the original crew, the boys are able to defeat the criminals and make their escape.
The struggles for survival and dominance amongst the boys were to be echoed in William Golding's Lord of the Flies, written some 66 years later.
gù shì jiǎng shù de shì， zài yī nián de xué xí jié shù shí， lái zì xīn xī lán mǒu jì sù xué xiào de yī qún xué shēng jiāng yào kāi shǐ yī cì wéi qī jǐ tiān de háng hǎi lǚ xíng。 rán 'ér， dāng hái zǐ men bàn yè jīng xǐng shí fā xiàn， tā men de chuán yǐ jīng piào liú zài hào hàn de hǎi miàn shàng， yuán lái zài chū fā qián yè yóu chuán de lǎn shéng duàn liè liǎo。 hǎi miàn fēng làng dà zuò， ér chuán shàng jì méi yòu chuán cháng， yě méi yòu shuǐ shǒu， wēi xiǎn、 kǒng jù、 jué wàng hé gū dú lǒngzhào zhe zhěng gè yóu chuán。 chuán suí hǎi làng piào liú tíng kào zài yī zuò huāng wú rén yān de xiǎo dǎo shàng， suī rán shēn chù jiān nán jìng dì， dàn hái zǐ men hái shì píng zhe rè qíng、 lǐ xìng hé yǒng qì， zuì zhōng bǎi tuō liǎo kùn jìng huí dào zì jǐ de jiā rén shēn biān。 gù shì qíng jié diē dàng qǐ fú， ér yī lù yòu guān zì rán fēng guāng de jiè shào yě tóng yàng yǐn rén rù shèng。
gāi shū zhì jīn yǐ bèi yì chéng shì jiè shàng duō zhǒng wén zì。 shū zhōng suǒ zhǎn xiàn de shén qí gù shì bàn suí liǎo ～ dài yòu yī dài rén de měi lì tóng nián、 shàonián zhí zhì chéng nián。 wú lùn zuò wéi yǔ yán xué xí de kè běn， hái shì zuò wéi tōng sú de wén xué hé kē xué dú běn， běn shū duì dāng dài zhōng guó de qīng shàonián dū jiāng chǎn shēng jī jí de yǐng xiǎng。 wèile shǐ dú zhě néng gòu liǎo jiě yīng wén gù shì gài kuàng， jìn 'ér tí gāo yuè dú sù dù hé yuè dú shuǐ píng， zài měi zhāng de kāi shǐ bù fēn zēng jiā liǎo zhōng wén dǎo dú。
Publication
As with most of Verne's works, it was serialised (in twenty-four parts between January and December 1888) in the "Extraordinary Journeys" section of the French Magasin d’Éducation et de Récréation by Parisian publisher Hetzel. It was also published in book form in two volumes in June and early November of that year. An illustrated double volume with a colour map and a preface by Verne was released in late November.
Translations and adaptations
An English translation of the book was serialised in 36 installments in the Boy's Own Paper between 1888 and 1889.
In 1889 a two-volume English-language book titled A Two Year's Vacation was published by Munro in the United States. Later the same year, a single-volume abridged edition in the United Kingdom was released by Sampson Low under the title of Adrift in the Pacific.
In 1890, from February 22 through March 14, the Boston Daily Globe newspaper serialized Adrift in the Pacific; the Strange Adventures of a Schoolboy Crew.
In 1965 the I. O. Evens version of the Sampson Low translation was published in England (ARCO) and the U.S. (Associated Publishers) in two volumes: Adrift in the Pacific and Second Year Ashore.
In 1967 a new modified and abridged translation by Olga Marx with illustrations by Victor Ambrus titled A Long Vacation was published by Oxford University Press in the United Kingdom and Holt, Rinehart & Winston in the United States.
In 1967 Czech filmmaker Karel Zeman made a loose adaptation under the title The Stolen Airship / Ukradená vzducholod.
In 1987 a made-for-TV animation was produced by the Japanese studio Nippon Animation under the title of The Story of Fifteen Boys (Japanese: 十五少年漂流記).
Plot summary
The story starts with a group of schoolboys aged between eight and thirteen on board a schooner moored at Auckland, New Zealand, and preparing to set off on a six-week vacation. With the exception of the oldest boy Gordon, an American, and Briant and Jacques, two French brothers, all the boys are British.
While the schooner's crew are ashore, the moorings are cast off under unknown circumstances and the ship drifts to sea, where it is caught by a storm. Twenty-two days later, the boys find themselves cast upon the shore of an uncharted island, which they name "Chairman Island." They remain there for the next two years until a passing ship lands. The ship has been taken over by mutineers, intent on trafficking weapons, alcohol and drugs. With the aid of the two surviving members of the original crew, the boys are able to defeat the criminals and make their escape.
The struggles for survival and dominance amongst the boys were to be echoed in William Golding's Lord of the Flies, written some 66 years later.
《 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。
《 bā shí tiān huán yóu dì qiú》 shì fán 'ěr nà yī bù yǐn rù rù shèng de xiǎo shuō， bǐ diào shēng dòng huó pō， fù yòu yōu mò gǎn。 xiǎo shuō xù shù liǎo yīng guó rén fú gé xiān shēng yīn hé péng yǒu dǎ dǔ， ér zài bā shí tiān kè fú chóngchóng kùn nán wán chéng huán yóu dì qiú yī zhōu de zhuàng jǔ。 shū zhōng bù jǐn xiáng xì miáo xiě liǎo fú gé xiān shēng yīháng zài tú zhōng de zhǒng zhǒng lí qí jīng lì hé tā men suǒ yù dào de qiān nán wàn xiǎn， ér qiě hái zài qíng jié de zhǎn kāi zhōng shǐ rén wù de xìng gé zhú jiàn lì tǐ huà。 chén mò guǎ yán、 jī zhì、 yǒng gǎn、 chōng mǎn rén dào jīng shén de fú gé， huó pō hàodòng yì chōng dòng de pú rén děng děng。 zuò pǐn fā biǎo hòu， yǐn qǐ liǎo hōng dòng， duō cì zài bǎn。
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn nèi róng
zài hái méi yòu fēi jī de 19 shì jì 70 nián dài， dāng rén men hái yǐ mǎ chē、 xuě qiāo、 lún chuán、 huǒ chē …… zuò wéi dài bù gōng jù de shí hòu， yào xiǎng zài duǎn duǎn de bā shí tiān zhī nèi huán qiú yī zhōu， zěn néng bù ràng rén jīng tàn hé pèi fú。 wán chéng cǐ jǔ de zhè gè rén， jiù shì fèi léi yà sī fú gé。
zhè jiàn shì jiù fā shēng zài 1872 nián de lún dūn。 yóu yú yīng guó guó jiā yínháng de yī cì shī qiè， fú gé hé gǎi liáng jù lè bù de huì yǒu yǐ liǎng wàn yīng bàng zuò wéi dǔ zhù， dǎ dǔ kě yǐ zài bā shí tiān lǐ huán yóu dì qiú yī zhōu。 wèile zhèng shí zhè yī tuī suàn de zhǔn què xìng， fú gé dài zhe gāng gāng gù yòng de， chuò hào jiào wàn shì tōng de pú rén lì kè qǐ chéng cóng lún dūn chū fā， kāi shǐ liǎo zhè cì bù kě sī yì de huán qiú lǚ xíng。 fú gé shè xiǎng de lǚ xíng lù xiàn shì zhè yàng de： chéng huǒ chē xiān dào sū yī shì yùn hé， zài zhè lǐ chéng chuán dào yìn dù， rán hòu zuò huǒ chē héng chuān yìn dù， lái dào zhōng guó de xiāng gǎng， zài chéng chuán dào rì běn， jiē zhe dào měi guó， zuò huǒ chē chuān guò měi guó hòu， zuì hòu zài huí dào lún dūn。 zài cǐ qī jiān， tā bì xū fēn miǎo bùchà dì cóng yī gè dì fāng gǎn dào lìng yī gè dì fāng， zhǐ yòu shǐ zhōng zhǔn què wú wù cái néng bǎo zhèng 'àn shí huí lái。
zhè wèi xìng gé lěng pì、 jīng què zhǔn shí de shēn shì zài lǚ tú zhōng yù dào de shì qíng： zāo rén gēn zōng、 zhì shēn huāng cūn wú lù kě zǒu、 shè shēn jiù rén、 yǔ 'è sēng duì bù gōng táng、 zāo 'àn suàn wù liǎo lún chuán、 yù fēng làng hǎi shàng bó jī、 yǔ pú rén shī sàn、 yǒng dǒu jié fěi、 jiù pú rén shēn fù xiǎn jìng、 rán liào gào jí hǎi shàng jīng shòu kǎo yàn、 yí wéi qiè zéi hǎi guān bèi qiú…… jīhū suǒ yòu de yì wài hé kùn nán dōubèi fú gé bù xìng yù dào liǎo， jiù suàn tā lín wēi bù jù， lěng jìng shǒu shí， tā yě wú fǎ yù liào lǚ tú shàng suǒ fā shēng de suǒ yòu de shì qíng。 gèng hé kuàng， hái yòu yī wèi míng jiào fěi kè sī de zhēn tàn shǐ zhōng gēn zài tā shēn biān bù tíng dì shè zhì zhàng 'ài， hǔ shì dān dān yī xīn xiǎng bǎ tā zhuō ná guī 'àn， qí yuán yīn shì tā yǔ jǐng fāng miáo shù de yí fàn de wài mào tè zhēng jīng rén dì xiāng sì。 rán 'ér， suǒ yòu de kùn nán dōuméi yòu nán dǎo fú gé， tā zǒng néng zài wēinàn guān tóu zhǎo dào wèn tí de jiě jué bàn fǎ， yī cì cì shén qí dì huà xiǎn wéi yí、 bǎi tuō kùn jìng： mǎi dà xiàng chuān yuè mì lín gǎn huǒ chē、 yīng xióng jiù měi yíng dé měi rén xīn、 huā zhòng jīn qǔ bǎo hòu shěn bǎi tuō guān sī、 gāo jià gù háng chuán dù hǎi fù rì běn。 jī yuán qiǎo hé yǔ pú rén chóngjù、 yīng yǒng yù dí zhàn jié fěi、 zuò xuě qiāo chuān yuè bīng yuán、 shāo lún chuán jiě rán méi zhī jí、 xiāo chú wù huì zhòng huò zì yóu…… zhè shì yī wèi zěn yàng de shēn shì yā！ tā de zhèn dìng zì ruò、 kāng kǎi dà fāng、 yǒng gǎn jī zhì hé shàn liáng xì xīn gěi měi yī gè réndōu liú xià liǎo shēn kè de yìn xiàng； zhèng shì tā shēn shàng de zhè xiē yì hū xún cháng de yōu xiù pǐn zhì shǐ tā měi cì jūn néng féng xiōng huà jí、 zhuǎn wēi wéi 'ān， zuì hòu shèng lì wán chéng lǚ xíng； nà gè zhēn tàn zé shì yī gè yì wài juǎnrù zhè cì lǚ xíng zhōng de tè shū rén wù， tā gù zhí duō yí、 jí gōng jìn lì、 jīng yú suàn jì， dàn què zhōng yú zhí shǒu， chū yú zhí zé hé tān xīn， tā yī lù gēn zōng fú gé， bèi pò yě jìn xíng liǎo yī cì huán qiú lǚ xíng。 tā xiǎng fāng shè fǎ chù chù gěi fú gé zhì zào má fán， zǔ zhǐ tā shùn lì wán chéng jìhuà， dàn tā de jì móu què yī cì cì luò kōng； ér nà gè jiào wàn shì tōng de fǎ guó xiǎo huǒ zǐ zé wéi zhè cì lǚ xíng zēng tiān liǎo bù shǎo xiào liào； tā chéng shí yǒng gǎn、 shēn huái jué jì、 zhèng zhí shàn liáng， dàn què róng yì shàngdàng shòu piàn， tā jì wéi zhù rén huà jiě liǎo bù shǎo wēi jī yě wéi zhù rén zhì zào liǎo bù shǎo má fán， tā de jiā rù shǐ zhè cì lǚ xíng biàn dé qù wèi héng shēng； hái yòu yī wèi rén wù suī rán huà yǔ bù duō， dàn què yòu zhe jǔ zú qīng zhòng de dì wèi， tā jiù shì fú gé shè shēn dā jiù de 'ā wǔ dá fū rén， yě shì hòu lái de fú gé fū rén。 tā guāng cǎi zhào rén、 wēn róu gāo yǎ、 shàn jiě rén yì， yī zhí zài fú gé shēn biān cóng jīng shén shàng zhī chí tā、 gǔ lì tā jiān chí dào shèng lì。 yòu liǎo tā de péi bàn， zhè cì huán qiú zhī lǚ yě biàn dé làng màn duō qíng hé wēn qíng mòmò liǎo。 gù shì de jié jú dāng rán shì rú rén suǒ yuàn： fú gé yíng dé liǎo zhè cì dǎ dǔ， bìng qiě zhǎo dào liǎo tā yī shēng de bàn lǚ。
《 bā shí tiān huán yóu dì qiú》 - zuò zhě jiǎn jiè
《 bā shí tiān huán yóu dì qiú》 rú lè fán 'ěr nà
rú lè fán 'ěr nà（ Verne Jules1828-1905）， fǎ guó zuì zhù míng de kē huàn xiǎo shuō zuò jiā。 chū shēng yú hǎi gǎng chéng shì， zì yòu mí shàng háng hǎi， céng lí jiā chū zǒu dāng shuǐ shǒu， yòu bèi fù qīn zhǎo huí， sòng dào bā lí xué xí fǎ lǜ。 tā bì yè hòu bù yuàn zuò fǎ guān， què qù jù yuàn zuò liǎo mì shū， kāi shǐ zhuàn xiě jù běn。 fán 'ěr nà rè zhōng yú gè zhǒng kē xué xīn fā xiàn， yě chuàng zuò kē huàn xiǎo shuō dǎ xià zhā shí jī chǔ。 1863 nián， chū bǎn《 qì qiú shàng de wǔ gè xīng qī》， huò dé chéng gōng。 cǐ hòu 40 yú nián jiān bǐ gēng bù zhuì， jīhū měi nián dōuyòu yī liǎng bù xīn zuò wèn shì， tí cái guǎng fàn。 tā de kē xué huàn xiǎng xiǎo shuō de zǒng míng shì《 zài yǐ zhī hé wèi zhī de shì jiè zhōng qí yì de màn yóu》， jiǎn chēng《 qí yì de màn yóu》。
zhù yào zuò pǐn：《 bā shí tiān huán yóu dì qiú》、《 dǐ liǎng wàn lǐ》、《 gé lán tè chuán cháng de 'ér nǚ》、《 huán rào yuè qiú》、《 shén mì dǎo》、《 shì jiè zhù zǎi zhě》、《 mǐ xiē 'ěr sī tè luó gē fū》、《 qì qiú shàng de wǔ xīng qī》、《 kōng zhōng lì xiǎn jì》、《 mò xī gē de“ yōu líng”》、《 zuǒ qí ruì dà shī》、《 niú bó shì》、《 yī gè zài bīng xuě zhōng dù guò de dōng tiān》、《 zhēng fú zhě luó bǐ 'ěr》、《 liǎng nián jiàqī》、《 cóng dì qiú dào yuè qiú》、《 bā shí tiān huán rào dì qiú》、《 ào lán qíng yóu》、《 shēng D xiān shēng hé jiàng E xiǎo jiě》、《 yǐn shēn xīn niàn》、《 áng tī fěi 'ěr qí yù jì》、《 dà hǎi rù qīn》、《 fēng huǒ dǎo》、《 tài yáng xì lì xiǎn jì》、《 bā 'ěr sà kè kǎo chá duì de jīng xiǎn zāo yù》、《 hā tè lā sī chuán cháng lì xiǎn jì》、《 dà mù fá》、《 kā 'ěr bā qiān gǔ bǎo》、《 jīn huǒ shān》、《 lǔ bīn xùn shū shū》、《 duō nǎo hé lǐng háng yuán》、《 lǔ bīn xùn xué xiào》、《 mǎ dīng pà cí》《 lǚ xíng jī jīn》、《 piào shì de bàn dǎo》、《 sāng dào fū bó jué》、《 hēi yìn dù》、《 nán fēi zhōu lì xiǎn jì》、《 tū pò fēng suǒ》、《 shā huáng de yóu jiàn》、《 yìn dù guì fù de wǔ yì fǎ láng》、《 xiǎo bǎ xì》。
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn zhù tí
《 bā shí tiān huán yóu dì qiú》 de xù shì jì qiǎo bìng bù fù zá， fú gé de zhè cì lǚ xíng qí shí shì hé zhēn tàn fěi kè sī de bèi dòng lǚ xíng tóng shí píng xíng zhǎn kāi de liǎng tiáo xù shì xiàn， zhè liǎng tiáo xiàn jì píng xíng fā zhǎn yòu jiāo cuò jiāo huì， jiāo chā diǎn jiù shì gù shì de chōng tū diǎn， yě shì gù shì de chū cǎi zhī chù。 ér wàn shì tōng hé 'ā wǔ dá dū shì fú gé lǚ xíng zhè tiáo xiàn shàng de liǎng gè xiǎo fēn zhī， tā men de gù shì wéi quán wén zēng sè bù shǎo。 měi yī cì chōng tū dū wéi gù shì xiān qǐ liǎo yī gè xiǎo gāo cháo， fú gé de měi cì yù xiǎn yědōu ràng rén jǐn zhāng wàn fēn， yóu qí shì xiǎo shuō de zuì hòu yī bù fēn： jiù zài fú gé yǎn kàn shèng lì zài wàng de shí hòu， tā piān piān bèi guān zài hǎi guān， dāng tā bèi fàng chū lái zhī hòu， dān wù de shí jiān yǐ jīng tài duō， méi yòu kě néng zhǔn shí gǎn huí lún dūn liǎo。 dú zhě dū yǐ wéi fú gé yǐ jīng shū diào zhè cì dǎ dǔ liǎo， kě shuídōu méi yòu liào dào， wàn shì tōng fā xiàn tā de zhù rén jū rán suàn cuò liǎo rì qī， yú shì fú gé yòu chū rén yì liào dì yíng dé liǎo dǎ dǔ。 quán wén jiù shì zhè yàng zài yī cì yòu yī cì de yì wài zhōng ràng dú zhě tǐ huì dào liǎo jīng xiǎn hé cì jī de。
《 bā shí tiān huán yóu dì qiú》 - nèi róng fēn xī
《 bā shí tiān huán yóu dì qiú》 shì rú lè . fán 'ěr nà yī bù yǐn rén rù shèng de xiǎo shuō。 lǐ biān jiǎng liǎo yī gè yīng guó rén fú kè xiān shēng yīn hé péng yǒu dǎ dǔ， zài bā shí tiān nèi kè fùzhòng zhòng kùn nán wán chéng huán yóu dì qiú yī zhōu de zhuàng jǔ。 shū zhōng bù jǐn jiǎng liǎo tā men suǒ yù dào de qiān nán wàn xiǎn， ér qiě zài qíng jié zhōng tǐ xiàn chū měi gè rén de gè xìng。 chén zhe、 jī zhì、 yǒng gǎn、 lěng jìng de fú kè hé tā huó pō、 hàodòng、 yì chōng dòng de pú rén děng děngdōu gěi rén liú xià liǎo shēn kè de yìn xiàng。
fú kè xiān shēng dào nǎ dōushì chén mò bù yǔ de lěng jìng tài dù， jí shǐ shì cuò guò liǎo dā wǎng měi guó de yóu chuán làng fèi liǎo tā yī tiān duō de shí jiān， hái shì zài huǒ chē de tiě guǐ shàng yù jiàn liǎo qiān bǎi wàn pǐ niú qún cóng guǐ dào shàng chuān guò 'ér dān wù liǎo 3 gè duō xiǎo shí， tā zǒng shì miàn wú biǎo qíng， jiù xiàng tā yǐ jīng zhī dào tā zì jǐ yī dìng huì yíng de yī yàng。 bù guò rú guǒ shū liǎo zhè gè dǎ dǔ jiù dé péi diào liǎng qiān wàn yīng bàng héng héng tā suǒ yòu de cái chǎn。 yī kāi shǐ jiù jiǎng fú kè xiān shēng shì fēi cháng yòu shēng huó guī lǜ de rén， jiù xiàng shì gè jī qì rén， dìng liǎo shí jiān shìde， zǒng shì yī fēn bù duō yī miǎo bùchà de zuò wán tā jìhuà zhī nèi de shì。 dāng rán zhè bā shí tiān huán yóu dì qiú yě shì tā guī dìng hǎo de， qián jǐ tiān， tā de xíng chéng díquè gēn běn zǐ shàng de jìhuà yī mó yī yàng， dào dá yī gè dì diǎn， tā jiù ná chū xiǎo běn zǐ， zài shàng miàn xiě zhe， mǒu yuè mǒu rì， dào dǐ nǎ lǐ。
kě shì shì shàng méi yòu bù qǐ làng de hǎi， zài yī lù shàng de tiān qì biàn huà， dǎo méi chōng dòng dàn yòu jué duì zhōng shí de pú rén lù lù tōng suǒ zào de má fán hé mǒu xiē rén wéi de chéng xīn pò huài， shǐ tā men de lù chéng zǒng shì méi yòu tā men suǒ yù jì de wán měi。 kě bù guǎn duō me zāo gāo de qíng kuàng xià， fú kè xiān shēng zǒng shì néng chōng chū chóngwéi， zǒng néng yòu jiě jué de bàn fǎ。 dāng rán tādōu shì kào tā huī sǎ liú xià de dà bǎ dà bǎ de yīng bàng。 yòu tā nà me yòng jù dà zī jīn lián yǎn pí dōubù zhǎ yī xià de rén， xiàn shí shēng huó zhōng yīnggāi shì bù huì yòu de。
zuì jiào wǒ jīng xīn dòng bó de hái shì mǎ shàng yào huí dào niǔ yuē wán chéng tā bā shí tiān de huán qiú rèn wù qù lǐng dà bǎ dà bǎ chāo piào de shí hòu， yǎn kàn jiù yào dào dá niǔ yuē liǎo， jū rán bèi yī zhí gēn zài tā men shēn biān de tàn jǐng fèi kè sī dāng zuò yínháng qiǎng jié fàn zhuā liǎo qǐ lái。 shí jiān yī fēn yī miǎo de liú shì， yǎn kàn shèng lì jiù zài yǎn qián， què yī xià zǐ chéng liǎo pào yǐng， fú kè xiān shēng liǎn shàng réng shì méi yòu yī diǎn biǎo qíng。 tā xīn lǐ zhēn de yī diǎn bù jí má？ shuí yě bù zhī dào。
dāng fèi kè sī nòng qīng liǎo zhēn xiāng， lián bèng dài tiào de páo jìn jiān yù fàng liǎo fú kè shí， fú kè zhǐ shì liǎng shǒu yī huī dāng zuò shēn lǎn yāo dǎ liǎo fèi kè sī liǎng quán， jiù jí máng gǎn qù niǔ yuē。 kě shì， dāng tā men dào dá lóu zhōng xià de shí hòu， shí zhēn què zhǐ zhe 8 diǎn 50 fēn， tā men zhǐ wǎn liǎo 5 fēn zhōng !
fú kè zhī dào zì jǐ yǐ jīng yī wú suǒ yòu liǎo， dàn hái yòu yī jiàn zhí dé qìng xìng de shì jiù shì zài tā men lǚ tú shàng jiù liǎo yī wèi 'ài 'é dá fū rén， xiàn zài tā jiù yào chéng wéi tā de qī zǐ liǎo。 dāng lù lù tōng dào jiào táng tōng zhī shén fǔ de shí hòu， què fā xiàn liǎo yī gè jīng rén de xiāo xī， jīn tiān bù shì 2 yuè 21 hào， shì 2 yuè 20 hào！ tā men zhěng zhěng zǎo dào liǎo yī tiān！ kě shì fú kè dào dá lún dūn de shí hòu shì 2 yuè 20 hào， zěn me huì jì cuò ní？
yuán lái shì tā men zài zhè cì lǚ tú zhōng bù zhī bù jué zhàn liǎo 'èr shí sì xiǎo shí de piányí。 yóu yú tā zhè cì lǚ xíng wǎng dōng zǒu， měi dāng tā men zǒu guò yī tiáo jīng xiàn tā men jiù huì tí qián 4 fēn zhōng kàn dào rì chū， zhěng gè dì qiú yī gòng fēn zuò sān bǎi liù shí dù， yòng sì fēn zhōng chéng sān bǎi liù shí， jiēguǒ zhèng hǎo shì 'èr shí sì xiǎo shí。 cǐ shí cǐ kè， hái bù dào 5 fēn zhōng， gēn tā dǎ dǔ de huì yǒu zhèng zài jù lè bù děng tā。
jù lè bù lǐ de chéng yuán， bāo kuò suǒ yòu dào lái de rén men hé jì zhě shè yǐng shī dōulái dào liǎo xiàn chǎng。 dàoshǔ yī fēn zhōng lǐ， dì sì shí miǎo píng 'ān de guò qù liǎo， dào liǎo dì wǔ shí miǎo shì píng 'ān wú shì！ dào liǎo dì wǔ shí wǔ miǎo de shí hòu， tīng dào wài miàn rén shēng léi dòng， zhǎng shēng， huān hū shēng， hái jiā zá zhe zhòu mà shēng， wǔ wèi shēn shì dū zhàn liǎo qǐ lái！ dào liǎo dì wǔ shí qī miǎo， zhè qiān jūn yī fā de shí hòu， dà tīng de mén bèi dǎ kāi liǎo， zhōng bǎi hái méi yòu lái dé jí xiǎng dì liù shí xià， yī qún kuáng rè de qún zhòng cù yōng zhe fú kè chōng jìn liǎo dà mén。 zhǐ jiàn tā chén jìng dì shuō：“ xiān shēng men， wǒ huí lái liǎo。
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn píng jià
fán 'ěr nà de《 bā shí tiān huán yóu dì qiú》 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《 bā shí tiān huán yóu dì qiú》 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）。
《 bā shí tiān huán yóu dì qiú》 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。 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。”
jié wěi yòu diǎn zǒu dào jìn tóu kǔ jìn gān lái de gǎn jué， fú gé xiān shēng huā liǎo bì shēng de qián dǎ liǎo yī gè dǔ， zhè gè dǔ lìng tā zhǎo dào liǎo tā shēng mìng de lìng yī bàn， ér yóu yú yī gè hú tú tàn cháng de hú tú xíng dòng shǐ tā shī qù liǎo nà xiē qián， zài zhè yàng de qíng kuàng xià tā hái néng lè guān dì miàn duì shēng huó， jié jú chū hū yì liào tā yǐ shí chā yíng dé liǎo nà xiē jiǎng jīn。 zhè gè jié wěi jiù zú jiàn fán 'ěr nà de xiě zuò gōng lì。
《 bā shí tiān huán yóu dì qiú》 -BBC bǎn běn
《 BBC bā shí tiān huán yóu dì qiú》
hǎi bào hǎi bào
【 yì míng】 BBCAroundTheWorldIn80Days
【 jí shù】 7CD
【 nián dài】 2005 nián
【 guó jiā】 yīng guó
【 piàn cháng】 7 xiǎo shí
【 lèi bié】 jì lù piàn
【 yǔ yán】 yīng yǔ
【 gé shì】 XVID5AC3
【 zì mù】（ qǐng diǎn） yīng wén zì mù（ qǐng diǎn） zhōng wén zì mù
【 jiǎn jiè】： BBC wáng pái zhù chí rén， yīng guó míng xǐ jù yǎn yuán MichealPalin dài nín zhǎn kāi liǎo lìng yī cì xuàn lì de 80 tiān lǚ tú， yī qǐ zhōu yóu shì jiè。 yǔ shì jiè míng zhù“ huán yóu shì jiè bā shí tiān” xiāng tóng lǚ chéng！ huán yóu shì jiè lǚ xíng zhě bì bèi de jīng diǎn cān kǎo zhǐ nán！ nǐ céng mèng xiǎng huán yóu shì jiè má？ bā shí tiān nèi rào wán dì qiú yī zhōu， huì shì zěn me yàng de qí huàn cì jī mào xiǎn？ mài kè 'ěr · pà lín zì gào fèn yǒng yào wán chéng zhè yī bù jì lù piàn（ zhè bèi zǐ zài zhè zhī qián zhǐ yòu yī cì jīng yàn）， gēn shí jiān sài páo， zài quán wú jù běn de qíng kuàng xià， tà shàng zhè duàn lù chéng， suǒ yòu de biàn huà， háo wú yù jǐng。 zhè shì qián suǒ wèi yòu de cháng shì 』 --- mài kě pà lín wēi ní sī de lā jī chuán、 zài 'āi jí bèi zhuàng huài de jì chéng chē、 héng dù bō sī wān de jiǎn lòu xiǎo chuán、 zhōng guó de zhēng qì chuán、 yuè guò huàn rì xiàn de huò guì chuán…… mài kè 'ěr · pà lín huán rào shì jiè yī zhōu de zhuàng jǔ， chú liǎo zuò bù wán de chuán、 shàng tù xià xiè， jī bù zé shí de yīng wǔ zhī wài， gèng yòu zhù mù bù xiá gěi de jīng xǐ !!
fēn jí mù lù
dì 1 jí jiān jù tiǎo zhàn
àn zhào zuò zhù zhū lè fán 'ěr nà de lù jìng， cóng lún dūn yóu hǎi lù jí lù lù zhǎn kāi…
dì 2 jí 'ā lā bó kǒng huāng
cóng sū yī shì gǎng dào shā wū dì gǎng， zhè yī qiē dū dé kàn 'ā lā de zhǐ yì liǎo…
dì 3 jí gǔ dài shuǐ shǒu
gǔ jiā lā tè shuǐ shǒu dài lǐng háng xíng dào yìn dù mèng mǎi， dàn yǐn qíng què tū rán gù zhàng ..
dì 4 jí jīng xiǎn guā hú
zài yìn dù dì yī dà chéng mèng mǎi dāng jiē guā hú hòu， zhuǎn niǎn qián wǎng mǎ dé lā sī…
dì 5 jí dōng fāng kuài chē
cóng xīn jiā pō gǎng chū fā dào xiāng gǎng zhī qián zài nán zhōng guó hǎi yù dào sān gè tái fēng…
dì 6 jí shēn rù yuǎn dōng
háng xíng dào shàng hǎi、 héng bīn， zài dōng jīng shāo wéi xiū xī hòu miàn duì guǎng dà de tài píng yáng ..
dì 7 jí cóng huàn rì xiàn dào zuì hòu qī xiàn
shí jiān jiàn bī dàn tā men dé tōng guò měi guó hé tài xī yáng huí dào qǐ diǎn…
Plot summary
The story starts in London on October 2, 1872. Phileas Fogg is a wealthy English gentleman who lives unmarried in solitude at Number 7 Savile Row, Burlington Gardens. Despite his wealth, which is £40,000, Mr. Fogg, whose countenance is described as "repose in action", lives a modest life with habits carried out with mathematical precision. As is noted in the first chapter, very little can be said about Mr. Fogg's social life other than that he is a member of the Reform Club. Having dismissed his former valet, James Foster, for bringing him shaving water at 84° Fahrenheit instead of 86°, Mr. Fogg hires the Frenchman Passepartout, who is about 30 years old, as a replacement.
Later, on that day, in the Reform Club, Fogg gets involved in an argument over an article in The Daily Telegraph, stating that with the opening of a new railway section in India, it is now possible to travel around the world in 80 days. He accepts a wager for £20,000 from his fellow club members, which he will receive if he makes it around the world in 80 days. Accompanied by Passepartout, he leaves London by train at 8:45 P.M. on October 2, 1872, and thus is due back at the Reform Club at the same time 80 days later, on December 21.
Map of the trip
The proposed schedule London to Suez rail and steamer 7 days
Suez to Bombay steamer 13 days
Bombay to Calcutta rail 3 days
Calcutta to Hong Kong steamer 13 days
Hong Kong to Yokohama steamer 6 days
Yokohama to San Francisco steamer 22 days
San Francisco to New York City rail 7 days
New York to London steamer and rail 9 days
Total 80 days
Fogg and Passepartout reach Suez in time. While disembarking in Egypt, they are watched by a Scotland Yard detective named Fix, who has been dispatched from London in search of a bank robber. Because Fogg matches the description of the bank robber, Fix mistakes Fogg for the criminal. Since he cannot secure a warrant in time, Fix goes on board the steamer conveying the travellers to Bombay. During the voyage, Fix becomes acquainted with Passepartout, without revealing his purpose. On the voyage, Fogg promises the engineer a large reward if he gets them to Bombay early. They dock two days ahead of schedule.
After reaching India they take a train from Bombay to Calcutta. About halfway there Fogg learns that the Daily Telegraph newspaper article was wrong – the railroad ends at Kholby and starts 50 miles further on at Allahabad. Fogg promptly buys an elephant, hires a guide and starts toward Allahabad.
During the ride, they come across a suttee procession, in which a young Parsi woman, Aouda, is led to a sanctuary to be sacrificed by the process of sati the next day by Brahmins. Since the young woman is drugged with the smoke of opium and hemp and obviously not going voluntarily, the travellers decide to rescue her. They follow the procession to the site, where Passepartout secretly takes the place of Aouda's deceased husband on the funeral pyre, on which she is to be burned the next morning. During the ceremony, he then rises from the pyre, scaring off the priests, and carries the young woman away. Due to this incident, the two days gained earlier are lost but Fogg shows no sign of regret.
The travellers then hasten on to catch the train at the next railway station, taking Aouda with them. At Calcutta, they can finally board a steamer going to Hong Kong. Fix, who has secretly been following them, has Fogg and Passepartout arrested in Calcutta. However, they jump bail and Fix is forced to follow them to Hong Kong. On board, he shows himself to Passepartout, who is delighted to meet again his travelling companion from the earlier voyage.
In Hong Kong, it turns out that Aouda's distant relative, in whose care they had been planning to leave her, has moved, probably to Holland, so they decide to take her with them to Europe. Meanwhile, still without a warrant, Fix sees Hong Kong as his last chance to arrest Fogg on British soil. He therefore confides in Passepartout, who does not believe a word and remains convinced that his master is not a bank robber. To prevent Passepartout from informing his master about the premature departure of their next vessel, Fix gets Passepartout drunk and drugs him in an opium den. In his dizziness, Passepartout still manages to catch the steamer to Yokohama, but neglects to inform Fogg.
Fogg, on the next day, discovers that he has missed his connection. He goes in search of a vessel that will take him to Yokohama. He finds a pilot boat that takes him and Aouda to Shanghai, where they catch a steamer to Yokohama. In Yokohama, they go on a search for Passepartout, believing that he may have arrived there on the original boat. They find him in a circus, trying to earn the fare for his homeward journey. Reunited, the four board a steamer taking them across the Pacific to San Francisco. Fix promises Passepartout that now, having left British soil, he will no longer try to delay Fogg's journey, but rather support him in getting back to Britain as fast as possible (to have him arrested there).
In San Francisco they get on a trans-American train to New York, encountering a number of obstacles along the way: a massive herd of bison crossing the tracks, a failing suspension bridge, and most disastrously, the train is attacked and overcome by Sioux Indians. After heroically uncoupling the locomotive from the carriages, Passepartout is kidnapped by the Indians, but Fogg rescues him after some soldiers volunteer to help. They continue by a wind-powered sledge over the snowy prairie to Omaha, where they get a train to New York.
Once in New York, and having missed departure of their ship (the China) by 35 minutes, Fogg starts looking for an alternative for the crossing of the Atlantic Ocean. He finds a small steamboat, destined for Bordeaux. However, the captain of the boat refuses to take the company to Liverpool, whereupon Fogg consents to be taken to Bordeaux for the price of $2000 per passenger. On the voyage, he bribes the crew to mutiny and take course for Liverpool. Against hurricane winds and going on full steam all the time, the boat runs out of fuel after a few days. Fogg buys the boat at a very high price from the captain, soothing him thereby, and has the crew burn all the wooden parts to keep up the steam.
The companions arrive at Queenstown, Ireland, in time to reach London via Dublin and Liverpool before the deadline. However, once on British soil again, Fix produces a warrant and arrests Fogg. A short time later, the misunderstanding is cleared up—the actual bank robber had been caught three days earlier in Edinburgh. In response to this, Fogg, in a rare moment of impulse, punches Fix, who immediately falls to the ground. However, Fogg has missed the train and returns to London five minutes late, assured that he has lost the wager.
In his London house the next day, he apologises to Aouda for bringing her with him, since he now has to live in poverty and cannot financially support her. Aouda suddenly confesses that she loves him and asks him to marry her, which he gladly accepts. He calls for Passepartout to notify the reverend. At the reverend's, Passepartout learns that he is mistaken in the date, which he takes to be Sunday but which actually is Saturday due to the fact that the party travelled east, thereby gaining a full day on their journey around the globe, by crossing the International Date Line. He did not notice this after landing in North America because the only phase of the trip that depended on vehicles departing less often than daily was the Atlantic crossing, and he had hired his own ship for that.
Passepartout hurries back to Fogg, who immediately sets off for the Reform Club, where he arrives just in time to win the wager. Fogg marries Aouda and the journey around the world is complete.
Passepartout and Fogg's Baggage
Passepartout and Fogg carry only a carpet bag with only two shirts and three pairs of stockings each, a mackintosh, a travelling cloak, and a spare pair of shoes. The only book carried is Bradshaw's Continental Railway Steam Transit and General Guide. This contains timetables of trains and steamers. He also carried a huge roll of English banknotes-about twenty thousand pounds. He also left with twenty guineas won at whist, which he soon disposed of.
Background and analysis
Around the World in Eighty Days was written during difficult times, both for France and for Verne. It was during the Franco-Prussian War (1870–1871) in which Verne was conscripted as a coastguard, he was having money difficulties (his previous works were not paid royalties), his father had died recently, and he had witnessed a public execution which had disturbed him. However despite all this, Verne was excited about his work on the new book, the idea of which came to him one afternoon in a Paris café while reading a newspaper (see "Origins" below).
The technological innovations of the 19th century had opened the possibility of rapid circumnavigation and the prospect fascinated Verne and his readership. In particular three technological breakthroughs occurred in 1869-70 that made a tourist-like around-the-world journey possible for the first time: the completion of the First Transcontinental Railroad in America (1869), the linking of the Indian railways across the sub-continent (1870), and the opening of the Suez Canal (1869). It was another notable mark in the end of an age of exploration and the start of an age of fully global tourism that could be enjoyed in relative comfort and safety. It sparked the imagination that anyone could sit down, draw up a schedule, buy tickets and travel around the world, a feat previously reserved for only the most heroic and hardy of adventurers.
Verne is often characterised as a futurist or science fiction author but there is not a glimmer of science-fiction in this, his most popular work (at least in English speaking countries). Rather than any futurism, it remains a memorable portrait of the British Empire "on which the sun never sets" shortly before its very peak, drawn by an outsider. It is also interesting to note that, as of 2006, there has never been a critical edition of Around the World in Eighty Days. This is in part due to the poor translations available of his works, the stereotype of "science fiction" or "boys' literature". However, Verne's works were being looked at more seriously in the late 20th and early 21st centuries, with new translations and scholarship appearing. It is also rather interesting to note that the book is a source of common notable English and extended British attitudes in quotes such as, "Phileas Fogg and Sir Francis Cromarty ... endured the discomfort with true British phlegm, talking little, and scarcely able to catch a glimpse of each other" as seen in Chapter Twelve when the group is being jostled around on the elephant ride across the jungle. Also seen in chapter Twenty-Five, when Phileas Fogg is insulted in San Francisco, and Detective Fix acknowledges that "It was clear that Mr. Fogg was one of those Englishmen who, while they do not tolerate dueling at home, fight abroad when their honor is attacked."
It is interesting to note that The China's departure from New York on the day of Fogg's arrival there constitutes a minor flaw in Verne's logic, because Fogg had already crossed the Pacific without accounting for the International Date Line so his entire journey across North America was apparently conducted with an erroneous belief about the date and day of the week. Had The China sailed in agreement with the published steamer schedule used by Fogg, it would have departed a day later than Fogg expected, and he would have been able to catch it in spite of arriving what he thought was a few minutes late.
The closing date of the novel, 22 December 1872, was also the same date as the serial publication. As it was being published serially for the first time, some readers believed that the journey was actually taking place — bets were placed, and some railway companies and ship liner companies actually lobbied Verne to appear in the book. It is unknown if Verne actually submitted to their requests, but the descriptions of some rail and shipping lines leave some suspicion he was influenced.
Although a journey by hot air balloon has become one of the images most strongly associated with the story, this iconic symbol was never deployed in the book by Verne himself – the idea is briefly brought up in chapter 32, but dismissed, it "would have been highly risky and, in any case, impossible." However the popular 1956 movie adaptation Around the World in Eighty Days floated the balloon idea, and it has now become a part of the mythology of the story, even appearing on book covers. This plot element is reminiscent of Verne's earlier Five Weeks in a Balloon which first made him a well-known author.
Following Towle and d'Anver's 1873 English translation, many people have tried to follow in the footsteps of Fogg's fictional circumnavigation, often within self-imposed constraints:
* 1889 – Nellie Bly undertook to travel around the world in 80 days for her newspaper, the New York World. She managed to do the journey within 72 days. Her book about the trip, Around the World in Seventy-Two Days, became a best seller.
* 1903 – James Willis Sayre, a Seattle theatre critic and arts promoter, set the world record for circling the earth using public transportation exclusively, completing his trip in 54 days, 9 hours, and 42 minutes.
* 1908 – Harry Bensley, on a wager, set out to circumnavigate the world on foot wearing an iron mask.
* 1984 - Nicholas Coleridge emulated Fogg's trip and wrote a book entitled Around the World in 78 Days about his experience.
* 1988 – Monty Python alumnus Michael Palin took a similar challenge without using aircraft as a part of a television travelogue, called Michael Palin: Around the World in 80 Days. He completed the journey in 79 days and 7 hours.
* 1993–present – The Jules Verne Trophy is held by the boat that sails around the world without stopping, and with no outside assistance in the shortest time.
* 2009 - in Around the World in 80 Days twelve celebrities performed a relay version of the journey for the BBC Children In Need charity appeal. This featured a carpet bag.
Origins
The idea of a trip around the world within a set period had clear external origins and was popular before Verne published his book in 1872. Even the title Around the World in Eighty Days is not original to Verne. About six sources have been suggested as the origins of the story:
Greek traveller Pausanias (c. 100 AD) wrote a work that was translated into French in 1797 as Voyage autour du monde ("Around the World"). Verne's friend, Jacques Arago, had written a very popular Voyage autour du monde in 1853. However in 1869/70 the idea of travelling around the world reached critical popular attention when three geographical breakthroughs occurred: the completion of the First Transcontinental Railroad in America (1869), the linking of the Indian railways across the sub-continent (1870), and the opening of the Suez Canal (1869). In 1871 appeared Around the World by Steam, via Pacific Railway, published by the Union Pacific Railroad Company, and an Around the World in A Hundred and Twenty Days by Edmond Planchut. Between 1869 and 1871, an American William Perry Fogg went around the world describing his tour in a series of letters to the Cleveland Leader, titled Round the World: Letters from Japan, China, India, and Egypt (1872). Additionally, in early 1870, the Erie Railway Company published a statement of routes, times, and distances detailing a trip around the globe of 23,739 miles in seventy-seven days and twenty-one hours.
In 1872 Thomas Cook organised the first around the world tourist trip, leaving on 20 September 1872 and returning seven months later. The journey was described in a series of letters that were later published in 1873 as Letter from the Sea and from Foreign Lands, Descriptive of a tour Round the World. Scholars have pointed out similarities between Verne's account and Cook's letters, although some argue that Cook's trip happened too late to influence Verne. Verne, according to a second-hand 1898 account, refers to a Thomas Cook advertisement as a source for the idea of his book. In interviews in 1894 and 1904, Verne says the source was "through reading one day in a Paris cafe" and "due merely to a tourist advertisement seen by chance in the columns of a newspaper.” Around the World itself says the origins were a newspaper article. All of these point to Cook's advert as being a probable spark for the idea of the book.
Further, the periodical Le Tour du monde (3 October 1869) contained a short piece entitled "Around the World in Eighty Days", which refers to "140 miles" of railway not yet completed between Allahabad and Bombay, a central point in Verne's work. But even the Le Tour de monde article was not entirely original; it cites in its bibliography the Nouvelles Annales des Voyages, de la Géographie, de l'Histoire et de l'Archéologie (August, 1869), which also contains the title Around the World in Eighty Days in its contents page. The Nouvelles Annales were written by Conrad Malte-Brun (1775—1826) and his son Victor Adolphe Malte-Brun (1816—1889). Scholars believe Verne was aware of either the Le Tour de monde article, or the Nouvelles Annales (or both), and consulted it — the 'Le Tour du monde even included a trip schedule very similar to Verne's final version.
A possible inspiration was the traveller George Francis Train, who made four trips around the world, including one in 80 days in 1870. Similarities include the hiring of a private train and his being imprisoned. Train later claimed "Verne stole my thunder. I'm Phileas Fogg."
Regarding the idea of gaining a day, Verne said of its origin: "I have a great number of scientific odds and ends in my head. It was thus that, when, one day in a Paris café, I read in the Siècle that a man could travel around the world in eighty days, it immediately struck me that I could profit by a difference of meridian and make my traveller gain or lose a day in his journey. There was a dénouement ready found. The story was not written until long after. I carry ideas about in my head for years – ten, or fifteen years, sometimes – before giving them form." In his lecture of April 1873 "The Meridians and the Calendar", Verne responded to a question about where the change of day actually occurred, since the international date line had only become current in 1880 and the Greenwich prime meridian was not adopted internationally until 1884. Verne cited an 1872 article in Nature, and Edgar Allan Poe's short story "Three Sundays in a Week" (1841), which was also based on going around the world and the difference in a day linked to a marriage at the end. Verne even analysed Poe's story in his Edgar Poe and His Works (1864).
In summary either the periodical 'Le Tour du monde or the Nouvelles Annales, W. P. Fogg, probably Thomas Cook's advert (and maybe his letters) would be the main likely source for the book. In addition, Poe's short story "Three Sundays in a Week" was clearly the inspiration for the lost day plot device.
Literary significance and criticism
Select quotes:
1. "We will only remind readers en passant of Around the World in Eighty Days, that tour de force of Mr Verne's—and not the first he has produced. Here, however, he has summarised and concentrated himself, so to speak ... No praise of his collected works is strong enough .. they are truly useful, entertaining, poignant, and moral; and Europe and America have merely produced rivals that are remarkably similar to them, but in any case inferior." (Henry Trianon, Le Constitutionnel, December 20, 1873).
2. "His first books, the shortest, Around the World or From the Earth to the Moon, are still the best in my view. However, the works should be judged as a whole rather than in detail, and on their results rather than their intrinsic quality. Over the last forty years, they have had an influence unequalled by any other books on the children of this and every country in Europe. And the influence has been good, in so far as can be judged today." (Léon Blum, L'Humanité, April 3, 1905).
3. "Jules Verne's masterpiece .. stimulated our childhood and taught us more than all the atlases: the taste of adventure and the love of travel. 'Thirty thousand banknotes for you, Captain, if we reach Liverpool within the hour.' This cry of Phileas Fogg's remains for me the call of the sea." (Jean Cocteau, Mon premier voyage (Tour du monde en 80 jours), Gallimard, 1936).
4. "Leo Tolstoy loved his works. 'Jules Verne's novels are matchless', he would say. 'I read them as an adult, and yet I remember they excited me. Jules Verne is an astonishing past master at the art of constructing a story that fascinates and impassions the reader. (Cyril Andreyev, "Preface to the Complete Works", trans. François Hirsch, Europe, 33: 112-113, 22-48).
5. "Jules Verne's work is nothing but a long meditation, a reverie on the straight line—which represents the predication of nature on industry and industry on nature, and which is recounted as a tale of exploration. Title: the adventures of a straight line ... The train.. cleaves through nature, jumps obstacles .. and continues both the actual journey—whose form is a furrow—and the perfect embodiment of human industry. The machine has the additional advantage here of not being isolated in a purpose-built, artificial place, like the factory or all similar structures, but of remaining in permanent and direct contact with the variety of nature." Pierre Macherey (1966).
Adaptations and influences
The book has been adapted many times in different forms.
Theatre
* A 1874 play written by Jules Verne and Adolphe d'Ennery at the Théâtre de la Porte Saint-Martin in Paris, where it was shown 415 times.
* In 1946 Orson Welles produced and starred in Around the World, a musical stage version, with music and lyrics by Cole Porter, that was only loosely faithful to Verne's original.
* A musical version, 80 Days, with songs by Ray Davies of The Kinks and a book by playwright Snoo Wilson, directed by Des McAnuff, ran at the Mandell Weiss Theatre in San Diego from August 23 to October 9, 1988. The musical received mixed responses from the critics. Ray Davies's multi-faceted music, McAnuff's directing, and the acting, however, were well received, with the show winning the "Best Musical" award from the San Diego Theatre Critics Circle.
* In 2001, the story was adapted for the stage by American playwright Mark Brown. In what has been described as "a wildly wacky, unbelievably creative, 90-miles-an-hour, hilarious journey" this award winning stage adaptation is written for five actors who portray thirty-nine characters.
* A stage musical adaptation premiered at the Fulton Opera House, Lancaster, PA in March 2007 with music by Ron Barnett, book and lyrics by Julianne Homokay, and direction by Robin McKercher.
Films
* A 1919 silent black and white parody by director Richard Oswald didn't disguise its use of locations in Germany as placeholders for the international voyage; part of the movie's joke is that Fogg's trip is obviously going to places in and around Berlin. There are no remaining copies of the film available today.
* The best known version was released in 1956, with David Niven and Cantinflas heading a huge cast. Many famous performers play bit parts, and part of the pleasure in this movie is playing "spot the star". The movie earned five Oscars, out of eight nominations. This film was also responsible for the popular misconception that Fogg and company travel by balloon for part of the trip in the novel, which has prompted later adaptations to include similar sequences. See Around the World in Eighty Days (1956 film) for details.
* 1963 saw the release of The Three Stooges Go Around the World in a Daze. In this parody, the Three Stooges (Moe Howard, Larry Fine, and Joe DeRita) are cast as the menservants of Phileas Fogg III (Jay Sheffield), great-grandson of the original around-the-world voyager. When Phileas Fogg III is tricked into replicating his ancestor's feat of circumnavigation, Larry, Moe, and Curly-Joe dutifully accompany their master. Along the way, the boys get into and out of trouble in typical Stooge fashion.
* In 1983 the basic idea was expanded to a galactic scope in Japan's Ginga Shippu Sasuraiger, where a team of adventurers travel through the galaxy in a train-like ship that can transform into a giant robot. The characters are travelling to different planets in order to return within a certain period and win a bet.
* The story was again adapted for the screen in the 2004 film Around the World in 80 Days, starring Jackie Chan as Passepartout and Steve Coogan as Fogg. This version makes Passepartout the hero and the thief of the treasure of the Bank; Fogg's character is an eccentric inventor who bets a rival scientist that he can travel the world with (then) modern means of transportation.
TV
* An episode of the American television series, Have Gun – Will Travel, entitled "Fogg Bound", had the series' hero, Palladin (Richard Boone), escorting Phileas Fogg (Patric Knowles) through part of his journey. This episode was broadcasted by CBS on December 3, 1960.
* A 1989 three-part TV mini-series starred Pierce Brosnan as Fogg, Eric Idle as Passepartout, Peter Ustinov as Fix and several TV stars in cameo roles. The heroes travel a slightly different route than in the book and the script makes several contemporary celebrities part of the story who were not mentioned in the book. See Around the World in 80 Days (TV miniseries) for details.
* The BBC along with Michael Palin (of Monty Python fame) created a 1989 television travel series following the book's path. It was one of many travelogues Michael Palin has done with the BBC and was a commercially successful transition from his comedic career. The latest series in a similar format was Michael Palin's New Europe in 2007.
* Around the World in 80 Days, a six part 2009 BBC One show in which twelve celebrities attempt to travel the world in aid of the Children in Need appeal. This featured a carpet bag similar to one carried by Fogg and Passeportout.
Animation
* An Indian Fantasy Story is an unfinished French/English co-production from 1938, featuring the wager at the Reform Club and the rescue of the Indian Princess. It was never completed as a full feature film.
* Around the World in 79 Days, a serial segment on the Hanna-Barbera show The Cattanooga Cats from 1969 to 1971.
* Around the World in 80 Days from 1972 by American studio Rankin/Bass with Japanese Mushi productions as part of the Festival of Family Classics series.
* A one-season cartoon series Around the World in 80 Days from 1972 by Australian Air Programs International. NBC aired the series in the US during the 1972-73 season on Saturday mornings.
* Puss 'N Boots Travels Around the World, a 1976 anime from Toei Animation
* A Walt Disney adaptation was produced in 1986. It featured Mickey Mouse, Donald Duck and Goofy as the main characters.
* Around the World with Willy Fog by Spanish studio BRB Internacional from 1981 with a second season produced in 1993. This series depicts the characters as talking animals, and, despite adding some new characters and making some superficial modifications to the original story, it remains one of the most accurate adaptations of the book made for film or television. The show has gained a cult following in Finland, Britain, Germany and Spain. The first season is "Around the World in 80 Days", and the second season is "Journey to the Centre of the Earth" and "Twenty Thousand Leagues Under the Sea"; all three books are by Jules Verne.
* Tweety's High-Flying Adventure is a direct-to-video cartoon by Warner Brothers from 2000 starring the Looney Tunes characters. It takes a great many liberties with the original story, but the central idea is still there - indeed, one of the songs in this film is entitled Around the World in Eighty Days. Tweety not only had to travel the world, he had to also collect 80 cat pawprints, all while evading the constant pursuits of Slyvester. This movie frequently appears on various US-based cable TV networks.
* "Around the World in 80 Narfs" is a Pinky and the Brain episode where the Brain claims to be able to make the travel in less than 80 days and the Pompous Explorers club agrees to make him their new president. With this, the Brain expects to be UK's new Prime Minister, what he considers back at that time, the fastest way to take over the world.
* A Mickey Mouse episode shows the effort of Mickey to get around the world in 80 days with the help of Goofy. The cartoon made reference to the ending of the novel. They realise they have a day extra by hearing church bells on what they believe to be a Monday. This referenced the ending with the vicar in the church.
Exhibitions
* "Around the World in 80 Days", group show curated by Jens Hoffman at the ICA London 2006
Cultural references
* "Around the Universe in 80 Days" is a song by the Canadian band Klaatu, and makes reference to a spaceship travelling around the galaxy, coming home to find the Earth second from the Sun. It was originally included on the 1977 album "Hope", but also appears on at least two compilations.
* There are at least four board games by this name.
* Worlds of Fun, an amusement park in Kansas City, Missouri, was conceived using the novel as its theme. It uses the hot air balloon in its logo, and the park's layout is based on world geography.
Argentinian avant-garde writer Julio Cortazar wrote in 1967 his book titled Around the Day in Eighty Worlds.
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn nèi róng
zài hái méi yòu fēi jī de 19 shì jì 70 nián dài， dāng rén men hái yǐ mǎ chē、 xuě qiāo、 lún chuán、 huǒ chē …… zuò wéi dài bù gōng jù de shí hòu， yào xiǎng zài duǎn duǎn de bā shí tiān zhī nèi huán qiú yī zhōu， zěn néng bù ràng rén jīng tàn hé pèi fú。 wán chéng cǐ jǔ de zhè gè rén， jiù shì fèi léi yà sī fú gé。
zhè jiàn shì jiù fā shēng zài 1872 nián de lún dūn。 yóu yú yīng guó guó jiā yínháng de yī cì shī qiè， fú gé hé gǎi liáng jù lè bù de huì yǒu yǐ liǎng wàn yīng bàng zuò wéi dǔ zhù， dǎ dǔ kě yǐ zài bā shí tiān lǐ huán yóu dì qiú yī zhōu。 wèile zhèng shí zhè yī tuī suàn de zhǔn què xìng， fú gé dài zhe gāng gāng gù yòng de， chuò hào jiào wàn shì tōng de pú rén lì kè qǐ chéng cóng lún dūn chū fā， kāi shǐ liǎo zhè cì bù kě sī yì de huán qiú lǚ xíng。 fú gé shè xiǎng de lǚ xíng lù xiàn shì zhè yàng de： chéng huǒ chē xiān dào sū yī shì yùn hé， zài zhè lǐ chéng chuán dào yìn dù， rán hòu zuò huǒ chē héng chuān yìn dù， lái dào zhōng guó de xiāng gǎng， zài chéng chuán dào rì běn， jiē zhe dào měi guó， zuò huǒ chē chuān guò měi guó hòu， zuì hòu zài huí dào lún dūn。 zài cǐ qī jiān， tā bì xū fēn miǎo bùchà dì cóng yī gè dì fāng gǎn dào lìng yī gè dì fāng， zhǐ yòu shǐ zhōng zhǔn què wú wù cái néng bǎo zhèng 'àn shí huí lái。
zhè wèi xìng gé lěng pì、 jīng què zhǔn shí de shēn shì zài lǚ tú zhōng yù dào de shì qíng： zāo rén gēn zōng、 zhì shēn huāng cūn wú lù kě zǒu、 shè shēn jiù rén、 yǔ 'è sēng duì bù gōng táng、 zāo 'àn suàn wù liǎo lún chuán、 yù fēng làng hǎi shàng bó jī、 yǔ pú rén shī sàn、 yǒng dǒu jié fěi、 jiù pú rén shēn fù xiǎn jìng、 rán liào gào jí hǎi shàng jīng shòu kǎo yàn、 yí wéi qiè zéi hǎi guān bèi qiú…… jīhū suǒ yòu de yì wài hé kùn nán dōubèi fú gé bù xìng yù dào liǎo， jiù suàn tā lín wēi bù jù， lěng jìng shǒu shí， tā yě wú fǎ yù liào lǚ tú shàng suǒ fā shēng de suǒ yòu de shì qíng。 gèng hé kuàng， hái yòu yī wèi míng jiào fěi kè sī de zhēn tàn shǐ zhōng gēn zài tā shēn biān bù tíng dì shè zhì zhàng 'ài， hǔ shì dān dān yī xīn xiǎng bǎ tā zhuō ná guī 'àn， qí yuán yīn shì tā yǔ jǐng fāng miáo shù de yí fàn de wài mào tè zhēng jīng rén dì xiāng sì。 rán 'ér， suǒ yòu de kùn nán dōuméi yòu nán dǎo fú gé， tā zǒng néng zài wēinàn guān tóu zhǎo dào wèn tí de jiě jué bàn fǎ， yī cì cì shén qí dì huà xiǎn wéi yí、 bǎi tuō kùn jìng： mǎi dà xiàng chuān yuè mì lín gǎn huǒ chē、 yīng xióng jiù měi yíng dé měi rén xīn、 huā zhòng jīn qǔ bǎo hòu shěn bǎi tuō guān sī、 gāo jià gù háng chuán dù hǎi fù rì běn。 jī yuán qiǎo hé yǔ pú rén chóngjù、 yīng yǒng yù dí zhàn jié fěi、 zuò xuě qiāo chuān yuè bīng yuán、 shāo lún chuán jiě rán méi zhī jí、 xiāo chú wù huì zhòng huò zì yóu…… zhè shì yī wèi zěn yàng de shēn shì yā！ tā de zhèn dìng zì ruò、 kāng kǎi dà fāng、 yǒng gǎn jī zhì hé shàn liáng xì xīn gěi měi yī gè réndōu liú xià liǎo shēn kè de yìn xiàng； zhèng shì tā shēn shàng de zhè xiē yì hū xún cháng de yōu xiù pǐn zhì shǐ tā měi cì jūn néng féng xiōng huà jí、 zhuǎn wēi wéi 'ān， zuì hòu shèng lì wán chéng lǚ xíng； nà gè zhēn tàn zé shì yī gè yì wài juǎnrù zhè cì lǚ xíng zhōng de tè shū rén wù， tā gù zhí duō yí、 jí gōng jìn lì、 jīng yú suàn jì， dàn què zhōng yú zhí shǒu， chū yú zhí zé hé tān xīn， tā yī lù gēn zōng fú gé， bèi pò yě jìn xíng liǎo yī cì huán qiú lǚ xíng。 tā xiǎng fāng shè fǎ chù chù gěi fú gé zhì zào má fán， zǔ zhǐ tā shùn lì wán chéng jìhuà， dàn tā de jì móu què yī cì cì luò kōng； ér nà gè jiào wàn shì tōng de fǎ guó xiǎo huǒ zǐ zé wéi zhè cì lǚ xíng zēng tiān liǎo bù shǎo xiào liào； tā chéng shí yǒng gǎn、 shēn huái jué jì、 zhèng zhí shàn liáng， dàn què róng yì shàngdàng shòu piàn， tā jì wéi zhù rén huà jiě liǎo bù shǎo wēi jī yě wéi zhù rén zhì zào liǎo bù shǎo má fán， tā de jiā rù shǐ zhè cì lǚ xíng biàn dé qù wèi héng shēng； hái yòu yī wèi rén wù suī rán huà yǔ bù duō， dàn què yòu zhe jǔ zú qīng zhòng de dì wèi， tā jiù shì fú gé shè shēn dā jiù de 'ā wǔ dá fū rén， yě shì hòu lái de fú gé fū rén。 tā guāng cǎi zhào rén、 wēn róu gāo yǎ、 shàn jiě rén yì， yī zhí zài fú gé shēn biān cóng jīng shén shàng zhī chí tā、 gǔ lì tā jiān chí dào shèng lì。 yòu liǎo tā de péi bàn， zhè cì huán qiú zhī lǚ yě biàn dé làng màn duō qíng hé wēn qíng mòmò liǎo。 gù shì de jié jú dāng rán shì rú rén suǒ yuàn： fú gé yíng dé liǎo zhè cì dǎ dǔ， bìng qiě zhǎo dào liǎo tā yī shēng de bàn lǚ。
《 bā shí tiān huán yóu dì qiú》 - zuò zhě jiǎn jiè
《 bā shí tiān huán yóu dì qiú》 rú lè fán 'ěr nà
rú lè fán 'ěr nà（ Verne Jules1828-1905）， fǎ guó zuì zhù míng de kē huàn xiǎo shuō zuò jiā。 chū shēng yú hǎi gǎng chéng shì， zì yòu mí shàng háng hǎi， céng lí jiā chū zǒu dāng shuǐ shǒu， yòu bèi fù qīn zhǎo huí， sòng dào bā lí xué xí fǎ lǜ。 tā bì yè hòu bù yuàn zuò fǎ guān， què qù jù yuàn zuò liǎo mì shū， kāi shǐ zhuàn xiě jù běn。 fán 'ěr nà rè zhōng yú gè zhǒng kē xué xīn fā xiàn， yě chuàng zuò kē huàn xiǎo shuō dǎ xià zhā shí jī chǔ。 1863 nián， chū bǎn《 qì qiú shàng de wǔ gè xīng qī》， huò dé chéng gōng。 cǐ hòu 40 yú nián jiān bǐ gēng bù zhuì， jīhū měi nián dōuyòu yī liǎng bù xīn zuò wèn shì， tí cái guǎng fàn。 tā de kē xué huàn xiǎng xiǎo shuō de zǒng míng shì《 zài yǐ zhī hé wèi zhī de shì jiè zhōng qí yì de màn yóu》， jiǎn chēng《 qí yì de màn yóu》。
zhù yào zuò pǐn：《 bā shí tiān huán yóu dì qiú》、《 dǐ liǎng wàn lǐ》、《 gé lán tè chuán cháng de 'ér nǚ》、《 huán rào yuè qiú》、《 shén mì dǎo》、《 shì jiè zhù zǎi zhě》、《 mǐ xiē 'ěr sī tè luó gē fū》、《 qì qiú shàng de wǔ xīng qī》、《 kōng zhōng lì xiǎn jì》、《 mò xī gē de“ yōu líng”》、《 zuǒ qí ruì dà shī》、《 niú bó shì》、《 yī gè zài bīng xuě zhōng dù guò de dōng tiān》、《 zhēng fú zhě luó bǐ 'ěr》、《 liǎng nián jiàqī》、《 cóng dì qiú dào yuè qiú》、《 bā shí tiān huán rào dì qiú》、《 ào lán qíng yóu》、《 shēng D xiān shēng hé jiàng E xiǎo jiě》、《 yǐn shēn xīn niàn》、《 áng tī fěi 'ěr qí yù jì》、《 dà hǎi rù qīn》、《 fēng huǒ dǎo》、《 tài yáng xì lì xiǎn jì》、《 bā 'ěr sà kè kǎo chá duì de jīng xiǎn zāo yù》、《 hā tè lā sī chuán cháng lì xiǎn jì》、《 dà mù fá》、《 kā 'ěr bā qiān gǔ bǎo》、《 jīn huǒ shān》、《 lǔ bīn xùn shū shū》、《 duō nǎo hé lǐng háng yuán》、《 lǔ bīn xùn xué xiào》、《 mǎ dīng pà cí》《 lǚ xíng jī jīn》、《 piào shì de bàn dǎo》、《 sāng dào fū bó jué》、《 hēi yìn dù》、《 nán fēi zhōu lì xiǎn jì》、《 tū pò fēng suǒ》、《 shā huáng de yóu jiàn》、《 yìn dù guì fù de wǔ yì fǎ láng》、《 xiǎo bǎ xì》。
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn zhù tí
《 bā shí tiān huán yóu dì qiú》 de xù shì jì qiǎo bìng bù fù zá， fú gé de zhè cì lǚ xíng qí shí shì hé zhēn tàn fěi kè sī de bèi dòng lǚ xíng tóng shí píng xíng zhǎn kāi de liǎng tiáo xù shì xiàn， zhè liǎng tiáo xiàn jì píng xíng fā zhǎn yòu jiāo cuò jiāo huì， jiāo chā diǎn jiù shì gù shì de chōng tū diǎn， yě shì gù shì de chū cǎi zhī chù。 ér wàn shì tōng hé 'ā wǔ dá dū shì fú gé lǚ xíng zhè tiáo xiàn shàng de liǎng gè xiǎo fēn zhī， tā men de gù shì wéi quán wén zēng sè bù shǎo。 měi yī cì chōng tū dū wéi gù shì xiān qǐ liǎo yī gè xiǎo gāo cháo， fú gé de měi cì yù xiǎn yědōu ràng rén jǐn zhāng wàn fēn， yóu qí shì xiǎo shuō de zuì hòu yī bù fēn： jiù zài fú gé yǎn kàn shèng lì zài wàng de shí hòu， tā piān piān bèi guān zài hǎi guān， dāng tā bèi fàng chū lái zhī hòu， dān wù de shí jiān yǐ jīng tài duō， méi yòu kě néng zhǔn shí gǎn huí lún dūn liǎo。 dú zhě dū yǐ wéi fú gé yǐ jīng shū diào zhè cì dǎ dǔ liǎo， kě shuídōu méi yòu liào dào， wàn shì tōng fā xiàn tā de zhù rén jū rán suàn cuò liǎo rì qī， yú shì fú gé yòu chū rén yì liào dì yíng dé liǎo dǎ dǔ。 quán wén jiù shì zhè yàng zài yī cì yòu yī cì de yì wài zhōng ràng dú zhě tǐ huì dào liǎo jīng xiǎn hé cì jī de。
《 bā shí tiān huán yóu dì qiú》 - nèi róng fēn xī
《 bā shí tiān huán yóu dì qiú》 shì rú lè . fán 'ěr nà yī bù yǐn rén rù shèng de xiǎo shuō。 lǐ biān jiǎng liǎo yī gè yīng guó rén fú kè xiān shēng yīn hé péng yǒu dǎ dǔ， zài bā shí tiān nèi kè fùzhòng zhòng kùn nán wán chéng huán yóu dì qiú yī zhōu de zhuàng jǔ。 shū zhōng bù jǐn jiǎng liǎo tā men suǒ yù dào de qiān nán wàn xiǎn， ér qiě zài qíng jié zhōng tǐ xiàn chū měi gè rén de gè xìng。 chén zhe、 jī zhì、 yǒng gǎn、 lěng jìng de fú kè hé tā huó pō、 hàodòng、 yì chōng dòng de pú rén děng děngdōu gěi rén liú xià liǎo shēn kè de yìn xiàng。
fú kè xiān shēng dào nǎ dōushì chén mò bù yǔ de lěng jìng tài dù， jí shǐ shì cuò guò liǎo dā wǎng měi guó de yóu chuán làng fèi liǎo tā yī tiān duō de shí jiān， hái shì zài huǒ chē de tiě guǐ shàng yù jiàn liǎo qiān bǎi wàn pǐ niú qún cóng guǐ dào shàng chuān guò 'ér dān wù liǎo 3 gè duō xiǎo shí， tā zǒng shì miàn wú biǎo qíng， jiù xiàng tā yǐ jīng zhī dào tā zì jǐ yī dìng huì yíng de yī yàng。 bù guò rú guǒ shū liǎo zhè gè dǎ dǔ jiù dé péi diào liǎng qiān wàn yīng bàng héng héng tā suǒ yòu de cái chǎn。 yī kāi shǐ jiù jiǎng fú kè xiān shēng shì fēi cháng yòu shēng huó guī lǜ de rén， jiù xiàng shì gè jī qì rén， dìng liǎo shí jiān shìde， zǒng shì yī fēn bù duō yī miǎo bùchà de zuò wán tā jìhuà zhī nèi de shì。 dāng rán zhè bā shí tiān huán yóu dì qiú yě shì tā guī dìng hǎo de， qián jǐ tiān， tā de xíng chéng díquè gēn běn zǐ shàng de jìhuà yī mó yī yàng， dào dá yī gè dì diǎn， tā jiù ná chū xiǎo běn zǐ， zài shàng miàn xiě zhe， mǒu yuè mǒu rì， dào dǐ nǎ lǐ。
kě shì shì shàng méi yòu bù qǐ làng de hǎi， zài yī lù shàng de tiān qì biàn huà， dǎo méi chōng dòng dàn yòu jué duì zhōng shí de pú rén lù lù tōng suǒ zào de má fán hé mǒu xiē rén wéi de chéng xīn pò huài， shǐ tā men de lù chéng zǒng shì méi yòu tā men suǒ yù jì de wán měi。 kě bù guǎn duō me zāo gāo de qíng kuàng xià， fú kè xiān shēng zǒng shì néng chōng chū chóngwéi， zǒng néng yòu jiě jué de bàn fǎ。 dāng rán tādōu shì kào tā huī sǎ liú xià de dà bǎ dà bǎ de yīng bàng。 yòu tā nà me yòng jù dà zī jīn lián yǎn pí dōubù zhǎ yī xià de rén， xiàn shí shēng huó zhōng yīnggāi shì bù huì yòu de。
zuì jiào wǒ jīng xīn dòng bó de hái shì mǎ shàng yào huí dào niǔ yuē wán chéng tā bā shí tiān de huán qiú rèn wù qù lǐng dà bǎ dà bǎ chāo piào de shí hòu， yǎn kàn jiù yào dào dá niǔ yuē liǎo， jū rán bèi yī zhí gēn zài tā men shēn biān de tàn jǐng fèi kè sī dāng zuò yínháng qiǎng jié fàn zhuā liǎo qǐ lái。 shí jiān yī fēn yī miǎo de liú shì， yǎn kàn shèng lì jiù zài yǎn qián， què yī xià zǐ chéng liǎo pào yǐng， fú kè xiān shēng liǎn shàng réng shì méi yòu yī diǎn biǎo qíng。 tā xīn lǐ zhēn de yī diǎn bù jí má？ shuí yě bù zhī dào。
dāng fèi kè sī nòng qīng liǎo zhēn xiāng， lián bèng dài tiào de páo jìn jiān yù fàng liǎo fú kè shí， fú kè zhǐ shì liǎng shǒu yī huī dāng zuò shēn lǎn yāo dǎ liǎo fèi kè sī liǎng quán， jiù jí máng gǎn qù niǔ yuē。 kě shì， dāng tā men dào dá lóu zhōng xià de shí hòu， shí zhēn què zhǐ zhe 8 diǎn 50 fēn， tā men zhǐ wǎn liǎo 5 fēn zhōng !
fú kè zhī dào zì jǐ yǐ jīng yī wú suǒ yòu liǎo， dàn hái yòu yī jiàn zhí dé qìng xìng de shì jiù shì zài tā men lǚ tú shàng jiù liǎo yī wèi 'ài 'é dá fū rén， xiàn zài tā jiù yào chéng wéi tā de qī zǐ liǎo。 dāng lù lù tōng dào jiào táng tōng zhī shén fǔ de shí hòu， què fā xiàn liǎo yī gè jīng rén de xiāo xī， jīn tiān bù shì 2 yuè 21 hào， shì 2 yuè 20 hào！ tā men zhěng zhěng zǎo dào liǎo yī tiān！ kě shì fú kè dào dá lún dūn de shí hòu shì 2 yuè 20 hào， zěn me huì jì cuò ní？
yuán lái shì tā men zài zhè cì lǚ tú zhōng bù zhī bù jué zhàn liǎo 'èr shí sì xiǎo shí de piányí。 yóu yú tā zhè cì lǚ xíng wǎng dōng zǒu， měi dāng tā men zǒu guò yī tiáo jīng xiàn tā men jiù huì tí qián 4 fēn zhōng kàn dào rì chū， zhěng gè dì qiú yī gòng fēn zuò sān bǎi liù shí dù， yòng sì fēn zhōng chéng sān bǎi liù shí， jiēguǒ zhèng hǎo shì 'èr shí sì xiǎo shí。 cǐ shí cǐ kè， hái bù dào 5 fēn zhōng， gēn tā dǎ dǔ de huì yǒu zhèng zài jù lè bù děng tā。
jù lè bù lǐ de chéng yuán， bāo kuò suǒ yòu dào lái de rén men hé jì zhě shè yǐng shī dōulái dào liǎo xiàn chǎng。 dàoshǔ yī fēn zhōng lǐ， dì sì shí miǎo píng 'ān de guò qù liǎo， dào liǎo dì wǔ shí miǎo shì píng 'ān wú shì！ dào liǎo dì wǔ shí wǔ miǎo de shí hòu， tīng dào wài miàn rén shēng léi dòng， zhǎng shēng， huān hū shēng， hái jiā zá zhe zhòu mà shēng， wǔ wèi shēn shì dū zhàn liǎo qǐ lái！ dào liǎo dì wǔ shí qī miǎo， zhè qiān jūn yī fā de shí hòu， dà tīng de mén bèi dǎ kāi liǎo， zhōng bǎi hái méi yòu lái dé jí xiǎng dì liù shí xià， yī qún kuáng rè de qún zhòng cù yōng zhe fú kè chōng jìn liǎo dà mén。 zhǐ jiàn tā chén jìng dì shuō：“ xiān shēng men， wǒ huí lái liǎo。
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn píng jià
fán 'ěr nà de《 bā shí tiān huán yóu dì qiú》 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《 bā shí tiān huán yóu dì qiú》 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）。
《 bā shí tiān huán yóu dì qiú》 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。 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。”
jié wěi yòu diǎn zǒu dào jìn tóu kǔ jìn gān lái de gǎn jué， fú gé xiān shēng huā liǎo bì shēng de qián dǎ liǎo yī gè dǔ， zhè gè dǔ lìng tā zhǎo dào liǎo tā shēng mìng de lìng yī bàn， ér yóu yú yī gè hú tú tàn cháng de hú tú xíng dòng shǐ tā shī qù liǎo nà xiē qián， zài zhè yàng de qíng kuàng xià tā hái néng lè guān dì miàn duì shēng huó， jié jú chū hū yì liào tā yǐ shí chā yíng dé liǎo nà xiē jiǎng jīn。 zhè gè jié wěi jiù zú jiàn fán 'ěr nà de xiě zuò gōng lì。
《 bā shí tiān huán yóu dì qiú》 -BBC bǎn běn
《 BBC bā shí tiān huán yóu dì qiú》
hǎi bào hǎi bào
【 yì míng】 BBCAroundTheWorldIn80Days
【 jí shù】 7CD
【 nián dài】 2005 nián
【 guó jiā】 yīng guó
【 piàn cháng】 7 xiǎo shí
【 lèi bié】 jì lù piàn
【 yǔ yán】 yīng yǔ
【 gé shì】 XVID5AC3
【 zì mù】（ qǐng diǎn） yīng wén zì mù（ qǐng diǎn） zhōng wén zì mù
【 jiǎn jiè】： BBC wáng pái zhù chí rén， yīng guó míng xǐ jù yǎn yuán MichealPalin dài nín zhǎn kāi liǎo lìng yī cì xuàn lì de 80 tiān lǚ tú， yī qǐ zhōu yóu shì jiè。 yǔ shì jiè míng zhù“ huán yóu shì jiè bā shí tiān” xiāng tóng lǚ chéng！ huán yóu shì jiè lǚ xíng zhě bì bèi de jīng diǎn cān kǎo zhǐ nán！ nǐ céng mèng xiǎng huán yóu shì jiè má？ bā shí tiān nèi rào wán dì qiú yī zhōu， huì shì zěn me yàng de qí huàn cì jī mào xiǎn？ mài kè 'ěr · pà lín zì gào fèn yǒng yào wán chéng zhè yī bù jì lù piàn（ zhè bèi zǐ zài zhè zhī qián zhǐ yòu yī cì jīng yàn）， gēn shí jiān sài páo， zài quán wú jù běn de qíng kuàng xià， tà shàng zhè duàn lù chéng， suǒ yòu de biàn huà， háo wú yù jǐng。 zhè shì qián suǒ wèi yòu de cháng shì 』 --- mài kě pà lín wēi ní sī de lā jī chuán、 zài 'āi jí bèi zhuàng huài de jì chéng chē、 héng dù bō sī wān de jiǎn lòu xiǎo chuán、 zhōng guó de zhēng qì chuán、 yuè guò huàn rì xiàn de huò guì chuán…… mài kè 'ěr · pà lín huán rào shì jiè yī zhōu de zhuàng jǔ， chú liǎo zuò bù wán de chuán、 shàng tù xià xiè， jī bù zé shí de yīng wǔ zhī wài， gèng yòu zhù mù bù xiá gěi de jīng xǐ !!
fēn jí mù lù
dì 1 jí jiān jù tiǎo zhàn
àn zhào zuò zhù zhū lè fán 'ěr nà de lù jìng， cóng lún dūn yóu hǎi lù jí lù lù zhǎn kāi…
dì 2 jí 'ā lā bó kǒng huāng
cóng sū yī shì gǎng dào shā wū dì gǎng， zhè yī qiē dū dé kàn 'ā lā de zhǐ yì liǎo…
dì 3 jí gǔ dài shuǐ shǒu
gǔ jiā lā tè shuǐ shǒu dài lǐng háng xíng dào yìn dù mèng mǎi， dàn yǐn qíng què tū rán gù zhàng ..
dì 4 jí jīng xiǎn guā hú
zài yìn dù dì yī dà chéng mèng mǎi dāng jiē guā hú hòu， zhuǎn niǎn qián wǎng mǎ dé lā sī…
dì 5 jí dōng fāng kuài chē
cóng xīn jiā pō gǎng chū fā dào xiāng gǎng zhī qián zài nán zhōng guó hǎi yù dào sān gè tái fēng…
dì 6 jí shēn rù yuǎn dōng
háng xíng dào shàng hǎi、 héng bīn， zài dōng jīng shāo wéi xiū xī hòu miàn duì guǎng dà de tài píng yáng ..
dì 7 jí cóng huàn rì xiàn dào zuì hòu qī xiàn
shí jiān jiàn bī dàn tā men dé tōng guò měi guó hé tài xī yáng huí dào qǐ diǎn…
Plot summary
The story starts in London on October 2, 1872. Phileas Fogg is a wealthy English gentleman who lives unmarried in solitude at Number 7 Savile Row, Burlington Gardens. Despite his wealth, which is £40,000, Mr. Fogg, whose countenance is described as "repose in action", lives a modest life with habits carried out with mathematical precision. As is noted in the first chapter, very little can be said about Mr. Fogg's social life other than that he is a member of the Reform Club. Having dismissed his former valet, James Foster, for bringing him shaving water at 84° Fahrenheit instead of 86°, Mr. Fogg hires the Frenchman Passepartout, who is about 30 years old, as a replacement.
Later, on that day, in the Reform Club, Fogg gets involved in an argument over an article in The Daily Telegraph, stating that with the opening of a new railway section in India, it is now possible to travel around the world in 80 days. He accepts a wager for £20,000 from his fellow club members, which he will receive if he makes it around the world in 80 days. Accompanied by Passepartout, he leaves London by train at 8:45 P.M. on October 2, 1872, and thus is due back at the Reform Club at the same time 80 days later, on December 21.
Map of the trip
The proposed schedule London to Suez rail and steamer 7 days
Suez to Bombay steamer 13 days
Bombay to Calcutta rail 3 days
Calcutta to Hong Kong steamer 13 days
Hong Kong to Yokohama steamer 6 days
Yokohama to San Francisco steamer 22 days
San Francisco to New York City rail 7 days
New York to London steamer and rail 9 days
Total 80 days
Fogg and Passepartout reach Suez in time. While disembarking in Egypt, they are watched by a Scotland Yard detective named Fix, who has been dispatched from London in search of a bank robber. Because Fogg matches the description of the bank robber, Fix mistakes Fogg for the criminal. Since he cannot secure a warrant in time, Fix goes on board the steamer conveying the travellers to Bombay. During the voyage, Fix becomes acquainted with Passepartout, without revealing his purpose. On the voyage, Fogg promises the engineer a large reward if he gets them to Bombay early. They dock two days ahead of schedule.
After reaching India they take a train from Bombay to Calcutta. About halfway there Fogg learns that the Daily Telegraph newspaper article was wrong – the railroad ends at Kholby and starts 50 miles further on at Allahabad. Fogg promptly buys an elephant, hires a guide and starts toward Allahabad.
During the ride, they come across a suttee procession, in which a young Parsi woman, Aouda, is led to a sanctuary to be sacrificed by the process of sati the next day by Brahmins. Since the young woman is drugged with the smoke of opium and hemp and obviously not going voluntarily, the travellers decide to rescue her. They follow the procession to the site, where Passepartout secretly takes the place of Aouda's deceased husband on the funeral pyre, on which she is to be burned the next morning. During the ceremony, he then rises from the pyre, scaring off the priests, and carries the young woman away. Due to this incident, the two days gained earlier are lost but Fogg shows no sign of regret.
The travellers then hasten on to catch the train at the next railway station, taking Aouda with them. At Calcutta, they can finally board a steamer going to Hong Kong. Fix, who has secretly been following them, has Fogg and Passepartout arrested in Calcutta. However, they jump bail and Fix is forced to follow them to Hong Kong. On board, he shows himself to Passepartout, who is delighted to meet again his travelling companion from the earlier voyage.
In Hong Kong, it turns out that Aouda's distant relative, in whose care they had been planning to leave her, has moved, probably to Holland, so they decide to take her with them to Europe. Meanwhile, still without a warrant, Fix sees Hong Kong as his last chance to arrest Fogg on British soil. He therefore confides in Passepartout, who does not believe a word and remains convinced that his master is not a bank robber. To prevent Passepartout from informing his master about the premature departure of their next vessel, Fix gets Passepartout drunk and drugs him in an opium den. In his dizziness, Passepartout still manages to catch the steamer to Yokohama, but neglects to inform Fogg.
Fogg, on the next day, discovers that he has missed his connection. He goes in search of a vessel that will take him to Yokohama. He finds a pilot boat that takes him and Aouda to Shanghai, where they catch a steamer to Yokohama. In Yokohama, they go on a search for Passepartout, believing that he may have arrived there on the original boat. They find him in a circus, trying to earn the fare for his homeward journey. Reunited, the four board a steamer taking them across the Pacific to San Francisco. Fix promises Passepartout that now, having left British soil, he will no longer try to delay Fogg's journey, but rather support him in getting back to Britain as fast as possible (to have him arrested there).
In San Francisco they get on a trans-American train to New York, encountering a number of obstacles along the way: a massive herd of bison crossing the tracks, a failing suspension bridge, and most disastrously, the train is attacked and overcome by Sioux Indians. After heroically uncoupling the locomotive from the carriages, Passepartout is kidnapped by the Indians, but Fogg rescues him after some soldiers volunteer to help. They continue by a wind-powered sledge over the snowy prairie to Omaha, where they get a train to New York.
Once in New York, and having missed departure of their ship (the China) by 35 minutes, Fogg starts looking for an alternative for the crossing of the Atlantic Ocean. He finds a small steamboat, destined for Bordeaux. However, the captain of the boat refuses to take the company to Liverpool, whereupon Fogg consents to be taken to Bordeaux for the price of $2000 per passenger. On the voyage, he bribes the crew to mutiny and take course for Liverpool. Against hurricane winds and going on full steam all the time, the boat runs out of fuel after a few days. Fogg buys the boat at a very high price from the captain, soothing him thereby, and has the crew burn all the wooden parts to keep up the steam.
The companions arrive at Queenstown, Ireland, in time to reach London via Dublin and Liverpool before the deadline. However, once on British soil again, Fix produces a warrant and arrests Fogg. A short time later, the misunderstanding is cleared up—the actual bank robber had been caught three days earlier in Edinburgh. In response to this, Fogg, in a rare moment of impulse, punches Fix, who immediately falls to the ground. However, Fogg has missed the train and returns to London five minutes late, assured that he has lost the wager.
In his London house the next day, he apologises to Aouda for bringing her with him, since he now has to live in poverty and cannot financially support her. Aouda suddenly confesses that she loves him and asks him to marry her, which he gladly accepts. He calls for Passepartout to notify the reverend. At the reverend's, Passepartout learns that he is mistaken in the date, which he takes to be Sunday but which actually is Saturday due to the fact that the party travelled east, thereby gaining a full day on their journey around the globe, by crossing the International Date Line. He did not notice this after landing in North America because the only phase of the trip that depended on vehicles departing less often than daily was the Atlantic crossing, and he had hired his own ship for that.
Passepartout hurries back to Fogg, who immediately sets off for the Reform Club, where he arrives just in time to win the wager. Fogg marries Aouda and the journey around the world is complete.
Passepartout and Fogg's Baggage
Passepartout and Fogg carry only a carpet bag with only two shirts and three pairs of stockings each, a mackintosh, a travelling cloak, and a spare pair of shoes. The only book carried is Bradshaw's Continental Railway Steam Transit and General Guide. This contains timetables of trains and steamers. He also carried a huge roll of English banknotes-about twenty thousand pounds. He also left with twenty guineas won at whist, which he soon disposed of.
Background and analysis
Around the World in Eighty Days was written during difficult times, both for France and for Verne. It was during the Franco-Prussian War (1870–1871) in which Verne was conscripted as a coastguard, he was having money difficulties (his previous works were not paid royalties), his father had died recently, and he had witnessed a public execution which had disturbed him. However despite all this, Verne was excited about his work on the new book, the idea of which came to him one afternoon in a Paris café while reading a newspaper (see "Origins" below).
The technological innovations of the 19th century had opened the possibility of rapid circumnavigation and the prospect fascinated Verne and his readership. In particular three technological breakthroughs occurred in 1869-70 that made a tourist-like around-the-world journey possible for the first time: the completion of the First Transcontinental Railroad in America (1869), the linking of the Indian railways across the sub-continent (1870), and the opening of the Suez Canal (1869). It was another notable mark in the end of an age of exploration and the start of an age of fully global tourism that could be enjoyed in relative comfort and safety. It sparked the imagination that anyone could sit down, draw up a schedule, buy tickets and travel around the world, a feat previously reserved for only the most heroic and hardy of adventurers.
Verne is often characterised as a futurist or science fiction author but there is not a glimmer of science-fiction in this, his most popular work (at least in English speaking countries). Rather than any futurism, it remains a memorable portrait of the British Empire "on which the sun never sets" shortly before its very peak, drawn by an outsider. It is also interesting to note that, as of 2006, there has never been a critical edition of Around the World in Eighty Days. This is in part due to the poor translations available of his works, the stereotype of "science fiction" or "boys' literature". However, Verne's works were being looked at more seriously in the late 20th and early 21st centuries, with new translations and scholarship appearing. It is also rather interesting to note that the book is a source of common notable English and extended British attitudes in quotes such as, "Phileas Fogg and Sir Francis Cromarty ... endured the discomfort with true British phlegm, talking little, and scarcely able to catch a glimpse of each other" as seen in Chapter Twelve when the group is being jostled around on the elephant ride across the jungle. Also seen in chapter Twenty-Five, when Phileas Fogg is insulted in San Francisco, and Detective Fix acknowledges that "It was clear that Mr. Fogg was one of those Englishmen who, while they do not tolerate dueling at home, fight abroad when their honor is attacked."
It is interesting to note that The China's departure from New York on the day of Fogg's arrival there constitutes a minor flaw in Verne's logic, because Fogg had already crossed the Pacific without accounting for the International Date Line so his entire journey across North America was apparently conducted with an erroneous belief about the date and day of the week. Had The China sailed in agreement with the published steamer schedule used by Fogg, it would have departed a day later than Fogg expected, and he would have been able to catch it in spite of arriving what he thought was a few minutes late.
The closing date of the novel, 22 December 1872, was also the same date as the serial publication. As it was being published serially for the first time, some readers believed that the journey was actually taking place — bets were placed, and some railway companies and ship liner companies actually lobbied Verne to appear in the book. It is unknown if Verne actually submitted to their requests, but the descriptions of some rail and shipping lines leave some suspicion he was influenced.
Although a journey by hot air balloon has become one of the images most strongly associated with the story, this iconic symbol was never deployed in the book by Verne himself – the idea is briefly brought up in chapter 32, but dismissed, it "would have been highly risky and, in any case, impossible." However the popular 1956 movie adaptation Around the World in Eighty Days floated the balloon idea, and it has now become a part of the mythology of the story, even appearing on book covers. This plot element is reminiscent of Verne's earlier Five Weeks in a Balloon which first made him a well-known author.
Following Towle and d'Anver's 1873 English translation, many people have tried to follow in the footsteps of Fogg's fictional circumnavigation, often within self-imposed constraints:
* 1889 – Nellie Bly undertook to travel around the world in 80 days for her newspaper, the New York World. She managed to do the journey within 72 days. Her book about the trip, Around the World in Seventy-Two Days, became a best seller.
* 1903 – James Willis Sayre, a Seattle theatre critic and arts promoter, set the world record for circling the earth using public transportation exclusively, completing his trip in 54 days, 9 hours, and 42 minutes.
* 1908 – Harry Bensley, on a wager, set out to circumnavigate the world on foot wearing an iron mask.
* 1984 - Nicholas Coleridge emulated Fogg's trip and wrote a book entitled Around the World in 78 Days about his experience.
* 1988 – Monty Python alumnus Michael Palin took a similar challenge without using aircraft as a part of a television travelogue, called Michael Palin: Around the World in 80 Days. He completed the journey in 79 days and 7 hours.
* 1993–present – The Jules Verne Trophy is held by the boat that sails around the world without stopping, and with no outside assistance in the shortest time.
* 2009 - in Around the World in 80 Days twelve celebrities performed a relay version of the journey for the BBC Children In Need charity appeal. This featured a carpet bag.
Origins
The idea of a trip around the world within a set period had clear external origins and was popular before Verne published his book in 1872. Even the title Around the World in Eighty Days is not original to Verne. About six sources have been suggested as the origins of the story:
Greek traveller Pausanias (c. 100 AD) wrote a work that was translated into French in 1797 as Voyage autour du monde ("Around the World"). Verne's friend, Jacques Arago, had written a very popular Voyage autour du monde in 1853. However in 1869/70 the idea of travelling around the world reached critical popular attention when three geographical breakthroughs occurred: the completion of the First Transcontinental Railroad in America (1869), the linking of the Indian railways across the sub-continent (1870), and the opening of the Suez Canal (1869). In 1871 appeared Around the World by Steam, via Pacific Railway, published by the Union Pacific Railroad Company, and an Around the World in A Hundred and Twenty Days by Edmond Planchut. Between 1869 and 1871, an American William Perry Fogg went around the world describing his tour in a series of letters to the Cleveland Leader, titled Round the World: Letters from Japan, China, India, and Egypt (1872). Additionally, in early 1870, the Erie Railway Company published a statement of routes, times, and distances detailing a trip around the globe of 23,739 miles in seventy-seven days and twenty-one hours.
In 1872 Thomas Cook organised the first around the world tourist trip, leaving on 20 September 1872 and returning seven months later. The journey was described in a series of letters that were later published in 1873 as Letter from the Sea and from Foreign Lands, Descriptive of a tour Round the World. Scholars have pointed out similarities between Verne's account and Cook's letters, although some argue that Cook's trip happened too late to influence Verne. Verne, according to a second-hand 1898 account, refers to a Thomas Cook advertisement as a source for the idea of his book. In interviews in 1894 and 1904, Verne says the source was "through reading one day in a Paris cafe" and "due merely to a tourist advertisement seen by chance in the columns of a newspaper.” Around the World itself says the origins were a newspaper article. All of these point to Cook's advert as being a probable spark for the idea of the book.
Further, the periodical Le Tour du monde (3 October 1869) contained a short piece entitled "Around the World in Eighty Days", which refers to "140 miles" of railway not yet completed between Allahabad and Bombay, a central point in Verne's work. But even the Le Tour de monde article was not entirely original; it cites in its bibliography the Nouvelles Annales des Voyages, de la Géographie, de l'Histoire et de l'Archéologie (August, 1869), which also contains the title Around the World in Eighty Days in its contents page. The Nouvelles Annales were written by Conrad Malte-Brun (1775—1826) and his son Victor Adolphe Malte-Brun (1816—1889). Scholars believe Verne was aware of either the Le Tour de monde article, or the Nouvelles Annales (or both), and consulted it — the 'Le Tour du monde even included a trip schedule very similar to Verne's final version.
A possible inspiration was the traveller George Francis Train, who made four trips around the world, including one in 80 days in 1870. Similarities include the hiring of a private train and his being imprisoned. Train later claimed "Verne stole my thunder. I'm Phileas Fogg."
Regarding the idea of gaining a day, Verne said of its origin: "I have a great number of scientific odds and ends in my head. It was thus that, when, one day in a Paris café, I read in the Siècle that a man could travel around the world in eighty days, it immediately struck me that I could profit by a difference of meridian and make my traveller gain or lose a day in his journey. There was a dénouement ready found. The story was not written until long after. I carry ideas about in my head for years – ten, or fifteen years, sometimes – before giving them form." In his lecture of April 1873 "The Meridians and the Calendar", Verne responded to a question about where the change of day actually occurred, since the international date line had only become current in 1880 and the Greenwich prime meridian was not adopted internationally until 1884. Verne cited an 1872 article in Nature, and Edgar Allan Poe's short story "Three Sundays in a Week" (1841), which was also based on going around the world and the difference in a day linked to a marriage at the end. Verne even analysed Poe's story in his Edgar Poe and His Works (1864).
In summary either the periodical 'Le Tour du monde or the Nouvelles Annales, W. P. Fogg, probably Thomas Cook's advert (and maybe his letters) would be the main likely source for the book. In addition, Poe's short story "Three Sundays in a Week" was clearly the inspiration for the lost day plot device.
Literary significance and criticism
Select quotes:
1. "We will only remind readers en passant of Around the World in Eighty Days, that tour de force of Mr Verne's—and not the first he has produced. Here, however, he has summarised and concentrated himself, so to speak ... No praise of his collected works is strong enough .. they are truly useful, entertaining, poignant, and moral; and Europe and America have merely produced rivals that are remarkably similar to them, but in any case inferior." (Henry Trianon, Le Constitutionnel, December 20, 1873).
2. "His first books, the shortest, Around the World or From the Earth to the Moon, are still the best in my view. However, the works should be judged as a whole rather than in detail, and on their results rather than their intrinsic quality. Over the last forty years, they have had an influence unequalled by any other books on the children of this and every country in Europe. And the influence has been good, in so far as can be judged today." (Léon Blum, L'Humanité, April 3, 1905).
3. "Jules Verne's masterpiece .. stimulated our childhood and taught us more than all the atlases: the taste of adventure and the love of travel. 'Thirty thousand banknotes for you, Captain, if we reach Liverpool within the hour.' This cry of Phileas Fogg's remains for me the call of the sea." (Jean Cocteau, Mon premier voyage (Tour du monde en 80 jours), Gallimard, 1936).
4. "Leo Tolstoy loved his works. 'Jules Verne's novels are matchless', he would say. 'I read them as an adult, and yet I remember they excited me. Jules Verne is an astonishing past master at the art of constructing a story that fascinates and impassions the reader. (Cyril Andreyev, "Preface to the Complete Works", trans. François Hirsch, Europe, 33: 112-113, 22-48).
5. "Jules Verne's work is nothing but a long meditation, a reverie on the straight line—which represents the predication of nature on industry and industry on nature, and which is recounted as a tale of exploration. Title: the adventures of a straight line ... The train.. cleaves through nature, jumps obstacles .. and continues both the actual journey—whose form is a furrow—and the perfect embodiment of human industry. The machine has the additional advantage here of not being isolated in a purpose-built, artificial place, like the factory or all similar structures, but of remaining in permanent and direct contact with the variety of nature." Pierre Macherey (1966).
Adaptations and influences
The book has been adapted many times in different forms.
Theatre
* A 1874 play written by Jules Verne and Adolphe d'Ennery at the Théâtre de la Porte Saint-Martin in Paris, where it was shown 415 times.
* In 1946 Orson Welles produced and starred in Around the World, a musical stage version, with music and lyrics by Cole Porter, that was only loosely faithful to Verne's original.
* A musical version, 80 Days, with songs by Ray Davies of The Kinks and a book by playwright Snoo Wilson, directed by Des McAnuff, ran at the Mandell Weiss Theatre in San Diego from August 23 to October 9, 1988. The musical received mixed responses from the critics. Ray Davies's multi-faceted music, McAnuff's directing, and the acting, however, were well received, with the show winning the "Best Musical" award from the San Diego Theatre Critics Circle.
* In 2001, the story was adapted for the stage by American playwright Mark Brown. In what has been described as "a wildly wacky, unbelievably creative, 90-miles-an-hour, hilarious journey" this award winning stage adaptation is written for five actors who portray thirty-nine characters.
* A stage musical adaptation premiered at the Fulton Opera House, Lancaster, PA in March 2007 with music by Ron Barnett, book and lyrics by Julianne Homokay, and direction by Robin McKercher.
Films
* A 1919 silent black and white parody by director Richard Oswald didn't disguise its use of locations in Germany as placeholders for the international voyage; part of the movie's joke is that Fogg's trip is obviously going to places in and around Berlin. There are no remaining copies of the film available today.
* The best known version was released in 1956, with David Niven and Cantinflas heading a huge cast. Many famous performers play bit parts, and part of the pleasure in this movie is playing "spot the star". The movie earned five Oscars, out of eight nominations. This film was also responsible for the popular misconception that Fogg and company travel by balloon for part of the trip in the novel, which has prompted later adaptations to include similar sequences. See Around the World in Eighty Days (1956 film) for details.
* 1963 saw the release of The Three Stooges Go Around the World in a Daze. In this parody, the Three Stooges (Moe Howard, Larry Fine, and Joe DeRita) are cast as the menservants of Phileas Fogg III (Jay Sheffield), great-grandson of the original around-the-world voyager. When Phileas Fogg III is tricked into replicating his ancestor's feat of circumnavigation, Larry, Moe, and Curly-Joe dutifully accompany their master. Along the way, the boys get into and out of trouble in typical Stooge fashion.
* In 1983 the basic idea was expanded to a galactic scope in Japan's Ginga Shippu Sasuraiger, where a team of adventurers travel through the galaxy in a train-like ship that can transform into a giant robot. The characters are travelling to different planets in order to return within a certain period and win a bet.
* The story was again adapted for the screen in the 2004 film Around the World in 80 Days, starring Jackie Chan as Passepartout and Steve Coogan as Fogg. This version makes Passepartout the hero and the thief of the treasure of the Bank; Fogg's character is an eccentric inventor who bets a rival scientist that he can travel the world with (then) modern means of transportation.
TV
* An episode of the American television series, Have Gun – Will Travel, entitled "Fogg Bound", had the series' hero, Palladin (Richard Boone), escorting Phileas Fogg (Patric Knowles) through part of his journey. This episode was broadcasted by CBS on December 3, 1960.
* A 1989 three-part TV mini-series starred Pierce Brosnan as Fogg, Eric Idle as Passepartout, Peter Ustinov as Fix and several TV stars in cameo roles. The heroes travel a slightly different route than in the book and the script makes several contemporary celebrities part of the story who were not mentioned in the book. See Around the World in 80 Days (TV miniseries) for details.
* The BBC along with Michael Palin (of Monty Python fame) created a 1989 television travel series following the book's path. It was one of many travelogues Michael Palin has done with the BBC and was a commercially successful transition from his comedic career. The latest series in a similar format was Michael Palin's New Europe in 2007.
* Around the World in 80 Days, a six part 2009 BBC One show in which twelve celebrities attempt to travel the world in aid of the Children in Need appeal. This featured a carpet bag similar to one carried by Fogg and Passeportout.
Animation
* An Indian Fantasy Story is an unfinished French/English co-production from 1938, featuring the wager at the Reform Club and the rescue of the Indian Princess. It was never completed as a full feature film.
* Around the World in 79 Days, a serial segment on the Hanna-Barbera show The Cattanooga Cats from 1969 to 1971.
* Around the World in 80 Days from 1972 by American studio Rankin/Bass with Japanese Mushi productions as part of the Festival of Family Classics series.
* A one-season cartoon series Around the World in 80 Days from 1972 by Australian Air Programs International. NBC aired the series in the US during the 1972-73 season on Saturday mornings.
* Puss 'N Boots Travels Around the World, a 1976 anime from Toei Animation
* A Walt Disney adaptation was produced in 1986. It featured Mickey Mouse, Donald Duck and Goofy as the main characters.
* Around the World with Willy Fog by Spanish studio BRB Internacional from 1981 with a second season produced in 1993. This series depicts the characters as talking animals, and, despite adding some new characters and making some superficial modifications to the original story, it remains one of the most accurate adaptations of the book made for film or television. The show has gained a cult following in Finland, Britain, Germany and Spain. The first season is "Around the World in 80 Days", and the second season is "Journey to the Centre of the Earth" and "Twenty Thousand Leagues Under the Sea"; all three books are by Jules Verne.
* Tweety's High-Flying Adventure is a direct-to-video cartoon by Warner Brothers from 2000 starring the Looney Tunes characters. It takes a great many liberties with the original story, but the central idea is still there - indeed, one of the songs in this film is entitled Around the World in Eighty Days. Tweety not only had to travel the world, he had to also collect 80 cat pawprints, all while evading the constant pursuits of Slyvester. This movie frequently appears on various US-based cable TV networks.
* "Around the World in 80 Narfs" is a Pinky and the Brain episode where the Brain claims to be able to make the travel in less than 80 days and the Pompous Explorers club agrees to make him their new president. With this, the Brain expects to be UK's new Prime Minister, what he considers back at that time, the fastest way to take over the world.
* A Mickey Mouse episode shows the effort of Mickey to get around the world in 80 days with the help of Goofy. The cartoon made reference to the ending of the novel. They realise they have a day extra by hearing church bells on what they believe to be a Monday. This referenced the ending with the vicar in the church.
Exhibitions
* "Around the World in 80 Days", group show curated by Jens Hoffman at the ICA London 2006
Cultural references
* "Around the Universe in 80 Days" is a song by the Canadian band Klaatu, and makes reference to a spaceship travelling around the galaxy, coming home to find the Earth second from the Sun. It was originally included on the 1977 album "Hope", but also appears on at least two compilations.
* There are at least four board games by this name.
* Worlds of Fun, an amusement park in Kansas City, Missouri, was conceived using the novel as its theme. It uses the hot air balloon in its logo, and the park's layout is based on world geography.
Argentinian avant-garde writer Julio Cortazar wrote in 1967 his book titled Around the Day in Eighty Worlds.
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。
zhè shì 1873 nián 2 yuè 2 rì， fān chuán“ làng zǐ” hào zhèng háng xíng zài nán wěi 43°57 ′， xī jīng 165°19′。 zhè shì yī sōu zài zhòng 400 dūn de bǔ jīng chuán， chuán shàng gè shì gè yàng de shè bèi dōushì cóng jiù jīn shān zhuāng bèi qǐ lái de。 tā de chuán zhù shì huì 'ěr dùn， shì jiā lì fú ní yà zhōu yī wèi fù yòu de chuán duì duì cháng， hú 'ěr zuò zhè chuán de chuán cháng yǐ jīng hǎo jǐ nián liǎo。
měi dào bǔ jīng jì jié， huì 'ěr dùn jiù huì mìng lìng chuán duì běi shàng nán xià， xiàng běi chuān guò bái lìng hǎi xiá zhí dào běi bīng yáng， xiàng nán zé guò hé 'ēn jiǎo zhí dào nán jí zhōu。“ làng zǐ” hào shì huì 'ěr dùn de chuán duì zhōng zuì xiǎo de yī tiáo bǔ jīng chuán， dàn tā shè bèi xiān jìn， cāo zuò jiǎn biàn， zhǐ yòng jǐ gè chuán yuán jiù gǎn dào nán bàn qiú de bīng shān zhōng qù mào xiǎn。 fù yòu jīng yàn de hú 'ěr chuán cháng hěn shàn yú zài zhè xiē bīng shān zhōng jiān wéi“ làng zǐ” hào zhǎo dào yī tiáo qiǎo miào de tōng dào。 zhè xiē bīng shān zài xià jì néng piào liú dào xīn xī lán hé hǎo wàng jiǎo suǒ zài de nà gè wěi dù， bǐ běi bīng yáng bīng shān suǒ néng piào liú de jù lí yào yuǎn dé duō。 zhè xiē bīng shān běn lái tǐ jī jiù bù tài dà， jiā shàng yán tú de pèng zhuàng hé wēn nuǎn de hǎi liú， suǒ yǐ tā men dà bù fēn huì xiāo shī zài tài píng yáng huò dà xī yáng zhōng。
Themes explored in the novel include:
* The painful learning of adult life - the hero, Dick Sand, must assume command of a ship after the disappearance of its captain.
* The discovery of entomology
* Condemnation of slavery
* Revenge
Plot
Dick Sand is a fifteen year old boy serving on the schooner "Pilgrim" as a sailor. The crew are whale hunters that voyage every year down to New Zealand. After an unsuccessful season of hunting, as they plan to return the wife of the owner of the hunting firm, Mrs Weldon, her five year old son Jack Weldon and her cousin, Bénédict, an entomologist ask for a return passege to San Francisco. Several days into the journey they save five shipwrecked passengers from another ship and a dog who was with them at the time (Tom, Actéon, Austin, Bat, Nan and Dingo (the dog)). Towards the end of their passage, they notice a whale and the crew, hoping for some profit after a bad season, decide to hunt it. Captain Hull reluctantly leaves Dick responsible for the ship. But the hunt goes awry and all the crew members are killed. Now Dick is left in charge of the ship with no experienced sailors to help him. He tries to teach the five survivors of the shipwreck and tries to reach the coast of South America, but Negoro, the ship's cook manages to trick them, breaking one of their compasses and their speed measuring device and eventually, after making sure the rest were lost, leads them to equatorial Africa.
List of characters
These names are as given in the original French version:
* Dick Sand
* Actéon
* Alvez
* Austin
* Bat
* Cousin Bénédict
* Coïmbra
* Dingo
* Halima
* Harris
* Big D
* Hercule, a recurring Verne character, here given the pseudonym Mgannga
* Howik
* Captain Hull
* Ibn Hamis
* Moina
* Moini Loungga
* Munito
* Nan
* Negoro
* Tipo-Tipo
* Tom
* Samuel Vernon
* Jack Weldon
* James-W. Weldon
* Mrs. Weldon
měi dào bǔ jīng jì jié， huì 'ěr dùn jiù huì mìng lìng chuán duì běi shàng nán xià， xiàng běi chuān guò bái lìng hǎi xiá zhí dào běi bīng yáng， xiàng nán zé guò hé 'ēn jiǎo zhí dào nán jí zhōu。“ làng zǐ” hào shì huì 'ěr dùn de chuán duì zhōng zuì xiǎo de yī tiáo bǔ jīng chuán， dàn tā shè bèi xiān jìn， cāo zuò jiǎn biàn， zhǐ yòng jǐ gè chuán yuán jiù gǎn dào nán bàn qiú de bīng shān zhōng qù mào xiǎn。 fù yòu jīng yàn de hú 'ěr chuán cháng hěn shàn yú zài zhè xiē bīng shān zhōng jiān wéi“ làng zǐ” hào zhǎo dào yī tiáo qiǎo miào de tōng dào。 zhè xiē bīng shān zài xià jì néng piào liú dào xīn xī lán hé hǎo wàng jiǎo suǒ zài de nà gè wěi dù， bǐ běi bīng yáng bīng shān suǒ néng piào liú de jù lí yào yuǎn dé duō。 zhè xiē bīng shān běn lái tǐ jī jiù bù tài dà， jiā shàng yán tú de pèng zhuàng hé wēn nuǎn de hǎi liú， suǒ yǐ tā men dà bù fēn huì xiāo shī zài tài píng yáng huò dà xī yáng zhōng。
Themes explored in the novel include:
* The painful learning of adult life - the hero, Dick Sand, must assume command of a ship after the disappearance of its captain.
* The discovery of entomology
* Condemnation of slavery
* Revenge
Plot
Dick Sand is a fifteen year old boy serving on the schooner "Pilgrim" as a sailor. The crew are whale hunters that voyage every year down to New Zealand. After an unsuccessful season of hunting, as they plan to return the wife of the owner of the hunting firm, Mrs Weldon, her five year old son Jack Weldon and her cousin, Bénédict, an entomologist ask for a return passege to San Francisco. Several days into the journey they save five shipwrecked passengers from another ship and a dog who was with them at the time (Tom, Actéon, Austin, Bat, Nan and Dingo (the dog)). Towards the end of their passage, they notice a whale and the crew, hoping for some profit after a bad season, decide to hunt it. Captain Hull reluctantly leaves Dick responsible for the ship. But the hunt goes awry and all the crew members are killed. Now Dick is left in charge of the ship with no experienced sailors to help him. He tries to teach the five survivors of the shipwreck and tries to reach the coast of South America, but Negoro, the ship's cook manages to trick them, breaking one of their compasses and their speed measuring device and eventually, after making sure the rest were lost, leads them to equatorial Africa.
List of characters
These names are as given in the original French version:
* Dick Sand
* Actéon
* Alvez
* Austin
* Bat
* Cousin Bénédict
* Coïmbra
* Dingo
* Halima
* Harris
* Big D
* Hercule, a recurring Verne character, here given the pseudonym Mgannga
* Howik
* Captain Hull
* Ibn Hamis
* Moina
* Moini Loungga
* Munito
* Nan
* Negoro
* Tipo-Tipo
* Tom
* Samuel Vernon
* Jack Weldon
* James-W. Weldon
* Mrs. Weldon
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。
1854 nián 2 yuè 27 rì， yòu liǎng gè rén tǎng zài 'ào lán zhì hé biān yī kē gāo dà de chuí liǔ xià， yī biān xián tán yī biān quán shén guàn zhù dì guān chá zhe hé miàn。 zhè tiáo bèi hé lán zhí mín zhě chēng zuò gé lǔ tè hé， bèi tǔ zhù huò dùn dū rén chēng zuò jiā liè pǔ de 'ào lán zhì hé， kě yǐ yǔ fēi zhōu dà lù de sān dà dòng mài： ní luó hé、 ní rì 'ěr hé hé zàn bǐ xī hé xiāng tí bìng lùn。 xiàng zhè sān dà hé liú yī yàng， tā yě yòu zì jǐ de gāo shuǐ wèi、 jí liú hé pù bù。 jǐ wèi zài 'ào lán zhì hé bù fēn liú yù hěn zhī míng de lǚ xíng jiā： tānɡ pǔ sēn、 yà lì shān dà、 bō qiē 'ěr， dū xiāng jì zàn tàn qí hé shuǐ qīng chè， liǎng 'àn fēng guāng qǐ lì。
ào lán zhì hé zài zhè yī dì duàn lín jìn yuē kè gōng jué shān mài， chéng xiàn chū yī pài zhuàng lì de jǐng guān。 nà xiē wú fǎ pān yuè de yán shí， jù dà de shí duī， bèi suì yuè wú qíng kuàng huà de cū dà shù gān hé wèi jīng zhí mín zhě de fǔ tóu kāi záo de nán yǐ jìn rù de yuán shǐ lǎo lín， zài jiā liè bān shān mài de huán rào xià， xíng chéng liǎo yī fāng wú yǐ bǐ nǐ de zhuàng guān jǐng sè。 hé shuǐ zài zhè lǐ yóu yú hé chuáng tài zhǎi shòu dào xié zhì， hé chuáng yě yīn cǐ bù néng chéng shòu 'ér tū rán tā xiàn， shuǐ liú yú shì cóng 400 fǎ chǐ① de gāo chù fēi liú zhí xiè xià lái。 pù bù de shàng liú， shì yī guà jiǎn jiǎn dān dān de fān téng bù zhǐ de shuǐ lián， bèi jǐ kuài yán shí tàn chū chuí shì zhe lǜ sè zhī tiáo de nǎo dài huá pò liǎo。 zài pù bù de xià fāng。 ròu yǎn zhǐ néng kàn dào yī tán xiōng yǒng de yīn chén chén de shuǐ wō， yī tuán nóng zhòng cháo shī、 bèi yáng guāng de qī sè guāng zhù huá chū dào wén de shuǐ wù lǒngzhào zài shàng miàn。 lìng rén fán zào de huá huá shuǐ shēng cóng shēn tán zhōng fā chū lái， yòu bèi shān gǔ kuò dà chéng liǎo jù dà de huí xiǎng。
Plot introduction
Three Russian and three English scientists depart to South Africa to measure the meridian. As their mission is proceeding, the Crimean war breaks out, and the members of the expedition find themselves citizens of enemy countries. This novel can be found under alternate titles such as "Adventures in the Land of the Behemoth," "Measuring a Meridian" and "Meridiana or Adventures in South Africa."
ào lán zhì hé zài zhè yī dì duàn lín jìn yuē kè gōng jué shān mài， chéng xiàn chū yī pài zhuàng lì de jǐng guān。 nà xiē wú fǎ pān yuè de yán shí， jù dà de shí duī， bèi suì yuè wú qíng kuàng huà de cū dà shù gān hé wèi jīng zhí mín zhě de fǔ tóu kāi záo de nán yǐ jìn rù de yuán shǐ lǎo lín， zài jiā liè bān shān mài de huán rào xià， xíng chéng liǎo yī fāng wú yǐ bǐ nǐ de zhuàng guān jǐng sè。 hé shuǐ zài zhè lǐ yóu yú hé chuáng tài zhǎi shòu dào xié zhì， hé chuáng yě yīn cǐ bù néng chéng shòu 'ér tū rán tā xiàn， shuǐ liú yú shì cóng 400 fǎ chǐ① de gāo chù fēi liú zhí xiè xià lái。 pù bù de shàng liú， shì yī guà jiǎn jiǎn dān dān de fān téng bù zhǐ de shuǐ lián， bèi jǐ kuài yán shí tàn chū chuí shì zhe lǜ sè zhī tiáo de nǎo dài huá pò liǎo。 zài pù bù de xià fāng。 ròu yǎn zhǐ néng kàn dào yī tán xiōng yǒng de yīn chén chén de shuǐ wō， yī tuán nóng zhòng cháo shī、 bèi yáng guāng de qī sè guāng zhù huá chū dào wén de shuǐ wù lǒngzhào zài shàng miàn。 lìng rén fán zào de huá huá shuǐ shēng cóng shēn tán zhōng fā chū lái， yòu bèi shān gǔ kuò dà chéng liǎo jù dà de huí xiǎng。
Plot introduction
Three Russian and three English scientists depart to South Africa to measure the meridian. As their mission is proceeding, the Crimean war breaks out, and the members of the expedition find themselves citizens of enemy countries. This novel can be found under alternate titles such as "Adventures in the Land of the Behemoth," "Measuring a Meridian" and "Meridiana or Adventures in South Africa."
“ zhè xiē yīng guó bào zhǐ biān dé zhēn hǎo！” hé shàn de dà fū yǎng kào zài yī zhāng dà pí fú shǒu yǐ lǐ zì yán zì yǔ dì shuō。
sà lā zàn dà fū yī bèi zǐ jiù zhè me zì yán zì yǔ de， zhè shì tā de xiāo qiǎn fāng shì zhī yī zhǒng。
tā nián yǐ wǔ shí， méi mù qīng xiù， yǎn jīng yòu shén， qīng chè liàng jīng， dài zhe yī fù jīn shǔ jià yǎn jìng， xiàngmào jì yán sù yòu hé 'ǎi kě qīn， ràng rén yī kàn jiù shì yī gè zhèng rén jūn zǐ。 zhè tiān zǎo chén， jìn guǎn tā cǐ kè yī zhe bìng bù shí fēn kǎo jiū， dàn què zǎo yǐ guā hǎo liǎn， jié shàng liǎo bái lǐng dài liǎo。
sà lā zàn dà fū yī bèi zǐ jiù zhè me zì yán zì yǔ de， zhè shì tā de xiāo qiǎn fāng shì zhī yī zhǒng。
tā nián yǐ wǔ shí， méi mù qīng xiù， yǎn jīng yòu shén， qīng chè liàng jīng， dài zhe yī fù jīn shǔ jià yǎn jìng， xiàngmào jì yán sù yòu hé 'ǎi kě qīn， ràng rén yī kàn jiù shì yī gè zhèng rén jūn zǐ。 zhè tiān zǎo chén， jìn guǎn tā cǐ kè yī zhe bìng bù shí fēn kǎo jiū， dàn què zǎo yǐ guā hǎo liǎn， jié shàng liǎo bái lǐng dài liǎo。
“ míng tiān luò cháo de shí hòu， chuán cháng K.Z.、 dà fù lǐ chá dé · shān dūn jiāng shuài lǐng‘ qián jìn ’ hào cóng xīn wáng zǐ mǎ tóu chū fā， shǐ xiàng mò shēng de hǎi yù。”
zhè jiù shì rén men zài 1860 nián 4 yuè 5 rì de“ lì wù pǔ xiān qū bào” shàng dú dào de nèi róng。
duì yú yīng guó zuì fán máng de shāng yè gǎng kǒu lái shuō， yī sōu chuán lí gǎng bìng bù shì shénme dà bù liǎo de shì。 shuí huì zài gè zhǒng dūn wèi、 gè gè guó jiā de lún chuán dāng zhōng zhù yì dào liǎng lǐ① de fú dòng chuán wù róng nà zhè me duō chuán yòu kùn nán？
① gǔ hǎi lǐ， yuē hé 5.556 gōng lǐ。
rán 'ér， 4 yuè 6 rì yī zǎo， yī dà qún rén jù jí zài xīn wáng zǐ mǎ tóu shàng， chéng lǐ hǎi yuán hánghuì lǐ shǔbù qīng de rén kàn qǐ lái xiàng zài zhè lǐ pèng tóu。 fù jìn de gōng rén fàng xià tā men shǒu zhōng de huó jì， pī fā shāng lí kāi liǎo tā men yīn 'àn de guì tái， shāng rén men lí kāi liǎo tā men lěng lěng qīng qīng de shāng diàn。 yán zhe chuán wù wài qiáng pái liè de wǔ yán liù sè de gōng gòng mǎ chē měi fēn zhōng dū yùn lái yī xiē hàoqí de chéng kè； zhěng gè chéng shì kàn qǐ lái zhǐ zài máng huó yī jiàn shì： guān kàn“ qián jìn” hào de qǐ háng。
The novel was published for the first time in 1864. The definitive version from 1866 was included into Voyages Extraordinaires series (The Extraordinary Voyages). Although it was the first book of the series it was labeled as number two. Three Verne's books from 1863-65 (Five Weeks in a Balloon, Journey to the Center of the Earth, and From the Earth to the Moon) were added into the series retroactively. Captain Hatteras shows many similarities with British explorer John Franklin.
Plot summary
The novel, set in 1861, described adventures of British expedition led by Captain John Hatteras to the North Pole. Hatteras is convinced that the sea around the pole is not frozen and his obsession is to reach the place no matter what. Mutiny by the crew results in destruction of their ship but Hatteras, with a few men, continues on the expedition. On the shore of the island of "New America" he discovers the remains of a ship used by the previous expedition from the United States. Doctor Clawbonny recalls in mind the plan of the real Ice palace, constructed completely from ice in Russia in 1740 to build a snow-house, where they should spend a winter. The travellers winter on the island and survive mainly due to the ingenuity of Doctor Clawbonny (who is able to make fire with an ice lens, make bullets from frozen mercury and repel attacks by polar bears with remotely controlled explosions of black powder).
When the winter ends the sea becomes ice-free. The travellers build a boat from the shipwreck and head towards the pole. Here they discover an island, an active volcano, and name it after Hatteras. With difficulty a fjord is found and the group get ashore. After three hours climbing they reach the mouth of the volcano. The exact location of the pole is in the crater and Hatteras jumps into it. As the sequence was originally written, Hatteras perishes in the crater; Verne's editor, Jules Hetzel, suggested or rather required that Verne do a rewrite so that Hatteras survives but is driven insane by the intensity of the experience, and after return to England he is put into an asylum for the insane. Losing his "soul" in the cavern of the North Pole, Hatteras never speaks another word. He spends the remainder of his days walking the streets surrounding the asylum with his faithful dog Duke. While mute and deaf to the world Hatteras' walks are not without a direction. As indicated by the last line "Captain Hatteras forever marches northward".
New America
New America (Nouvelle-Amerique) in map of Captain Hatteras' voyage
New America is the name given to a large Arctic island, a northward extension of Ellesmere Island, as discovered by Captain John Hatteras and his crew. Its features include, on the west coast, Victoria Bay, Cape Washington, Johnson Island, Bell Mountain, and Fort Providence, and at its northern point (87°5′N 118°35′W / 87.083°N 118.583°W / 87.083; -118.583), Altamont Harbour.
As with many of Verne's imaginative creations, his description of Arctic geography was based on scientific knowledge at the time the novel was written (1866) but foreshadowed future discoveries. Ellesmere Island had been re-discovered and named by Edward Inglefield in 1852 and further explored by Isaac Israel Hayes in 1860-61. Forty years after the novel's publication, in 1906, Robert Peary claimed to have sighted Crocker Land around 83° N, and in 1909, Frederick Cook sighted Bradley Land at 85° N, both at locations occupied by Verne's New America. Cook's choice of route may actually have been inspired by his reading of Verne.
The land is named by Captain Altamont, an American explorer, who is first to set foot on the land. In the novel as published, it is unclear whether New America is meant to be a territorial claim for the United States. As William Butcher points out, this would not be surprising, since Verne wrote about the US acquisition of Alaska in The Fur Country, and Lincoln Island is proposed as a US possession in The Mysterious Island. In fact, a deleted chapter, "John Bull and Jonathan," had Hatteras and Altamont dueling for the privilege of claiming the land for their respective countries.
In popular culture
In 1912, Georges Méliès made a film based on the story entitled Conquest of the Pole (French: Conquête du pôle).
zhè jiù shì rén men zài 1860 nián 4 yuè 5 rì de“ lì wù pǔ xiān qū bào” shàng dú dào de nèi róng。
duì yú yīng guó zuì fán máng de shāng yè gǎng kǒu lái shuō， yī sōu chuán lí gǎng bìng bù shì shénme dà bù liǎo de shì。 shuí huì zài gè zhǒng dūn wèi、 gè gè guó jiā de lún chuán dāng zhōng zhù yì dào liǎng lǐ① de fú dòng chuán wù róng nà zhè me duō chuán yòu kùn nán？
① gǔ hǎi lǐ， yuē hé 5.556 gōng lǐ。
rán 'ér， 4 yuè 6 rì yī zǎo， yī dà qún rén jù jí zài xīn wáng zǐ mǎ tóu shàng， chéng lǐ hǎi yuán hánghuì lǐ shǔbù qīng de rén kàn qǐ lái xiàng zài zhè lǐ pèng tóu。 fù jìn de gōng rén fàng xià tā men shǒu zhōng de huó jì， pī fā shāng lí kāi liǎo tā men yīn 'àn de guì tái， shāng rén men lí kāi liǎo tā men lěng lěng qīng qīng de shāng diàn。 yán zhe chuán wù wài qiáng pái liè de wǔ yán liù sè de gōng gòng mǎ chē měi fēn zhōng dū yùn lái yī xiē hàoqí de chéng kè； zhěng gè chéng shì kàn qǐ lái zhǐ zài máng huó yī jiàn shì： guān kàn“ qián jìn” hào de qǐ háng。
The novel was published for the first time in 1864. The definitive version from 1866 was included into Voyages Extraordinaires series (The Extraordinary Voyages). Although it was the first book of the series it was labeled as number two. Three Verne's books from 1863-65 (Five Weeks in a Balloon, Journey to the Center of the Earth, and From the Earth to the Moon) were added into the series retroactively. Captain Hatteras shows many similarities with British explorer John Franklin.
Plot summary
The novel, set in 1861, described adventures of British expedition led by Captain John Hatteras to the North Pole. Hatteras is convinced that the sea around the pole is not frozen and his obsession is to reach the place no matter what. Mutiny by the crew results in destruction of their ship but Hatteras, with a few men, continues on the expedition. On the shore of the island of "New America" he discovers the remains of a ship used by the previous expedition from the United States. Doctor Clawbonny recalls in mind the plan of the real Ice palace, constructed completely from ice in Russia in 1740 to build a snow-house, where they should spend a winter. The travellers winter on the island and survive mainly due to the ingenuity of Doctor Clawbonny (who is able to make fire with an ice lens, make bullets from frozen mercury and repel attacks by polar bears with remotely controlled explosions of black powder).
When the winter ends the sea becomes ice-free. The travellers build a boat from the shipwreck and head towards the pole. Here they discover an island, an active volcano, and name it after Hatteras. With difficulty a fjord is found and the group get ashore. After three hours climbing they reach the mouth of the volcano. The exact location of the pole is in the crater and Hatteras jumps into it. As the sequence was originally written, Hatteras perishes in the crater; Verne's editor, Jules Hetzel, suggested or rather required that Verne do a rewrite so that Hatteras survives but is driven insane by the intensity of the experience, and after return to England he is put into an asylum for the insane. Losing his "soul" in the cavern of the North Pole, Hatteras never speaks another word. He spends the remainder of his days walking the streets surrounding the asylum with his faithful dog Duke. While mute and deaf to the world Hatteras' walks are not without a direction. As indicated by the last line "Captain Hatteras forever marches northward".
New America
New America (Nouvelle-Amerique) in map of Captain Hatteras' voyage
New America is the name given to a large Arctic island, a northward extension of Ellesmere Island, as discovered by Captain John Hatteras and his crew. Its features include, on the west coast, Victoria Bay, Cape Washington, Johnson Island, Bell Mountain, and Fort Providence, and at its northern point (87°5′N 118°35′W / 87.083°N 118.583°W / 87.083; -118.583), Altamont Harbour.
As with many of Verne's imaginative creations, his description of Arctic geography was based on scientific knowledge at the time the novel was written (1866) but foreshadowed future discoveries. Ellesmere Island had been re-discovered and named by Edward Inglefield in 1852 and further explored by Isaac Israel Hayes in 1860-61. Forty years after the novel's publication, in 1906, Robert Peary claimed to have sighted Crocker Land around 83° N, and in 1909, Frederick Cook sighted Bradley Land at 85° N, both at locations occupied by Verne's New America. Cook's choice of route may actually have been inspired by his reading of Verne.
The land is named by Captain Altamont, an American explorer, who is first to set foot on the land. In the novel as published, it is unclear whether New America is meant to be a territorial claim for the United States. As William Butcher points out, this would not be surprising, since Verne wrote about the US acquisition of Alaska in The Fur Country, and Lincoln Island is proposed as a US possession in The Mysterious Island. In fact, a deleted chapter, "John Bull and Jonathan," had Hatteras and Altamont dueling for the privilege of claiming the land for their respective countries.
In popular culture
In 1912, Georges Méliès made a film based on the story entitled Conquest of the Pole (French: Conquête du pôle).
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.
1825 nián 10 yuè 18 rì， yī sōu jīng xīn dǎ zào de xī bān yá jūn jiàn“ yà zhōu hào”， yǔ lìng yī sōu pèi yòu 8 mén dà pào de shuāng wéi héng fān chuán“ kāng sī tǎn qí yà hào” zài gé ràng dǎo jiě lǎn kāi háng liǎo。 gé ràng dǎo shì mǎ lǐ yà nà qún dǎo de yī bù fēn。
chuán shàng de shuǐ shǒu huǒ shí chā， dài yù dī。 zài kāi wǎng xī bān yá de 6 gè yuè de háng chéng zhōng， tā men kùn dùn bù kān， zhèng mì móu cè dòng yī cì huá biàn。
hé“ yà zhōu hào” shàng de shuǐ shǒu xiāng bǐ，“ kāng sī tǎn qí yà hào” shàng de shuǐ shǒu shēng xìng gèng jiā wán liè guāi zhāng。 tā yóu chuán cháng táng · ào tè huá zhǐ huī。 zhè gè rén shì gè yòu zhe zhèng zhèng tiě gǔ de yìng hàn zǐ， cóng láidōu bù fú shū， dàn zhè sōu chuán de háng chéng què yīn lǚ cì shòu zǔ 'ér jìn chéng huǎn màn。 xiǎn rán， yòu rén zài gù yì dǎo luàn。 jiù zài zhè gè shí hòu， táng · luó kè zhǐ huī xià de“ yà zhōu hào” yě bù dé bù rù shǐ gǎng kǒu。
yòu tiān wǎn shàng， luó pán yí bèi dǎ dé xī bā làn， shuí yě nòng bù míng bái shì zěn me huí shì。 yòu yòu yī tiān wǎn shàng， qián wéi de zuǒ yòu zhī suǒ xiàng gěi rén kǎn duàn liǎo shìde， hōng rán kuǎ liǎo xià lái， wéi shàng de fān hé suǒ jù quán luò dào jiá bǎn shàng。 zài hòu lái， duǒ shéng zài jǐ cì zhòng yào de jī dòng cāo zuò zhōng liǎng dù mò míng qí miào dì bēng duàn liǎo。
The story was first published in July 1851 under the title "The First Ships of the Mexican Navy" ("L'Amérique du Sud. Etudes historiques. Les Premiers Navires de la Marine Mexicaine") in Museé des Familles with three illustrations by Eugène Forest and Alexandre de Bar. The revised version with six illustrations by Férat was published in 1876 together with the novel Michel Strogoff as a part of the Voyages Extraordinaires series. The first English translation by W. H. G. Kingston was published in 1876.
Plot outline
In 1825, off the islands of Guam on a passage from Spain, Lieutenant Martinez, and his associates plot a mutiny on board of two Spanish warships. Conspirators murder Captain Don Orteva, take command of the ships, and plan to sell them to the republican government in Mexico. But on arrival in Acapulco, Lieutenant Martinez and Jose[who?] are forced to embark on a cross-country trip to Mexico City that proves fatal to both.
chuán shàng de shuǐ shǒu huǒ shí chā， dài yù dī。 zài kāi wǎng xī bān yá de 6 gè yuè de háng chéng zhōng， tā men kùn dùn bù kān， zhèng mì móu cè dòng yī cì huá biàn。
hé“ yà zhōu hào” shàng de shuǐ shǒu xiāng bǐ，“ kāng sī tǎn qí yà hào” shàng de shuǐ shǒu shēng xìng gèng jiā wán liè guāi zhāng。 tā yóu chuán cháng táng · ào tè huá zhǐ huī。 zhè gè rén shì gè yòu zhe zhèng zhèng tiě gǔ de yìng hàn zǐ， cóng láidōu bù fú shū， dàn zhè sōu chuán de háng chéng què yīn lǚ cì shòu zǔ 'ér jìn chéng huǎn màn。 xiǎn rán， yòu rén zài gù yì dǎo luàn。 jiù zài zhè gè shí hòu， táng · luó kè zhǐ huī xià de“ yà zhōu hào” yě bù dé bù rù shǐ gǎng kǒu。
yòu tiān wǎn shàng， luó pán yí bèi dǎ dé xī bā làn， shuí yě nòng bù míng bái shì zěn me huí shì。 yòu yòu yī tiān wǎn shàng， qián wéi de zuǒ yòu zhī suǒ xiàng gěi rén kǎn duàn liǎo shìde， hōng rán kuǎ liǎo xià lái， wéi shàng de fān hé suǒ jù quán luò dào jiá bǎn shàng。 zài hòu lái， duǒ shéng zài jǐ cì zhòng yào de jī dòng cāo zuò zhōng liǎng dù mò míng qí miào dì bēng duàn liǎo。
The story was first published in July 1851 under the title "The First Ships of the Mexican Navy" ("L'Amérique du Sud. Etudes historiques. Les Premiers Navires de la Marine Mexicaine") in Museé des Familles with three illustrations by Eugène Forest and Alexandre de Bar. The revised version with six illustrations by Férat was published in 1876 together with the novel Michel Strogoff as a part of the Voyages Extraordinaires series. The first English translation by W. H. G. Kingston was published in 1876.
Plot outline
In 1825, off the islands of Guam on a passage from Spain, Lieutenant Martinez, and his associates plot a mutiny on board of two Spanish warships. Conspirators murder Captain Don Orteva, take command of the ships, and plan to sell them to the republican government in Mexico. But on arrival in Acapulco, Lieutenant Martinez and Jose[who?] are forced to embark on a cross-country trip to Mexico City that proves fatal to both.
“ kàn lái nǐ men 'èr wèi de zhè fān zhēng lùn shì méi gè wán liǎo……，” mǐ gài 'ěr xiān shēng zài chǎo dé miàn hóng 'ěr chì de liǎng gè rén zhōng jiān chā liǎo zhè me yī jù。
“ shì 'ā…… méi wán liǎo……，” fèi lǐ pèi xiān shēng shuō，“ chú fēi wǒ xiàng wǎ lǐ nà sī xiān shēng de guān diǎn tóu jiàng……”
“ wǒ kě shì jué duì bù huì qū cóng yú fèi lǐ pèi xiān shēng de guān diǎn de！” wǎ lǐ nà sī xiān shēng fǎn bó dào。
zhè liǎng gè gù zhí 'ér bó xué de rén yǐ jīng hù bù xiāng ràng dì zhēng chǎo liǎo zhěng zhěng sān gè xiǎo shí， huà tí shì 'ào lǐ nuò kē hé， nán měi zhōu yī tiáo zhù míng de hé liú， wěi nèi ruì lā de dà dòng mài。 liǎng rén zhēng zhí bù xià de shì tā de zhī liú wèn tí： ào lǐ nuò kē hé zuì chū de yī duàn， ruò guǒ zhēn xiàng xīn jìn chū bǎn de dì tú shàng suǒ biāo huà de nà yàng shì zì dōng xiàng xī liú， nà me 'ā tǎ bā bù hé jiù bù yìng chēng zuò tā de zhī liú 'ér shì tā de zhèng yuán； ér rú guǒ shì chéng xī nán - dōng běi fāng xiàng de huà， nà me guā wéi yè léi hé jiù shì 'ào lǐ nuò kē hé de zhèng yuán liǎo。
“ shì 'ā…… méi wán liǎo……，” fèi lǐ pèi xiān shēng shuō，“ chú fēi wǒ xiàng wǎ lǐ nà sī xiān shēng de guān diǎn tóu jiàng……”
“ wǒ kě shì jué duì bù huì qū cóng yú fèi lǐ pèi xiān shēng de guān diǎn de！” wǎ lǐ nà sī xiān shēng fǎn bó dào。
zhè liǎng gè gù zhí 'ér bó xué de rén yǐ jīng hù bù xiāng ràng dì zhēng chǎo liǎo zhěng zhěng sān gè xiǎo shí， huà tí shì 'ào lǐ nuò kē hé， nán měi zhōu yī tiáo zhù míng de hé liú， wěi nèi ruì lā de dà dòng mài。 liǎng rén zhēng zhí bù xià de shì tā de zhī liú wèn tí： ào lǐ nuò kē hé zuì chū de yī duàn， ruò guǒ zhēn xiàng xīn jìn chū bǎn de dì tú shàng suǒ biāo huà de nà yàng shì zì dōng xiàng xī liú， nà me 'ā tǎ bā bù hé jiù bù yìng chēng zuò tā de zhī liú 'ér shì tā de zhèng yuán； ér rú guǒ shì chéng xī nán - dōng běi fāng xiàng de huà， nà me guā wéi yè léi hé jiù shì 'ào lǐ nuò kē hé de zhèng yuán liǎo。
yī bā qī liù nián bā yuè wǔ rì， xīng qī liù。 nà tiān， guà zhe“ yú fū zhī yuē” jīn zì zhāo pái de xiǎo jiǔ diàn lǐ jǐ mǎn liǎo chǎo chǎo rǎng rǎng de rén qún。 gē shēng、 jiào shēng、 pèng bēi shēng、 gǔ zhǎng shēng、 huān hū shēng， róng huì chéng yī piàn zhèn 'ěr de xuān 'áo。 rén men bù shí dì qí shēng gāo hū“ hē hē”， zhè shì dé yì zhì mín zú biǎo shì tā men kuài lè dào liǎo jí diǎn de tè yòu xí guàn。
xiǎo jiǔ diàn wèi yú mí rén de qí gé mǎ lín gēn xiǎo chéng de yī yú， chuāng wài biàn shì duō nǎo hé。 qí gé mǎ lín gēn shì pǔ lǔ shì lǐng dì huò 'ēn zuǒ lún de shǒu fǔ， jù lí zhōng 'ōu zhè tiáo zhù míng dà hé de yuán tóu hěn jìn。
“ duō nǎo hé xié huì” shì hé liú liǎng 'àn yú fū de guó jì xìng zǔ zhì tuán tǐ， huì yuán men yìng mén méi shàng nà kuài piào liàng de gē tè tǐ zì zhāo pái de yāo qǐng， jù jí yú cǐ。 wú jiǔ bù chéng yàn， yīn cǐ， huì yuán men zhēn mǎn liǎo suǒ yòu de dà pí jiǔ bēi jí pú táo jiǔ bēi， tòng yǐn xiāng chún kě kǒu de mù ní hēi pí jiǔ hé xiōng yá lì pú táo jiǔ。 dà jiā hái chōu zhe yān dǒu， cháng cháng de yān dǒu lǐ bù tíng dì tù chū qiàng bí de yān wù， nòng dé zhěng gè dà tīng hūn hēi yī piàn。 dàn shì， suī rán huì yuán men nán yǐ tòu guò yān wù wàng jiàn bǐ cǐ， shuō huà shēng què hái shì xiāng hù tīng dé dào de， chú fēi shì lóng zǐ。
shǒu chí diào gān de yú fū men zài zuò yè shí shì lěng jìng qiě chén mò de， ér shí jì shàng， yī fàng xià huó jì， tā men jiù chéng wéi shì jiè shàng zuì dié dié bù xiū de yī qún。 yī tán qǐ tā men de hè hè zhàn gōng， tā men de jī dòng jiǎn zhí hé liè shǒu men bù xiāng bó zhòng。 cǐ huà jué fēi xū yán。
xiǎo jiǔ diàn wèi yú mí rén de qí gé mǎ lín gēn xiǎo chéng de yī yú， chuāng wài biàn shì duō nǎo hé。 qí gé mǎ lín gēn shì pǔ lǔ shì lǐng dì huò 'ēn zuǒ lún de shǒu fǔ， jù lí zhōng 'ōu zhè tiáo zhù míng dà hé de yuán tóu hěn jìn。
“ duō nǎo hé xié huì” shì hé liú liǎng 'àn yú fū de guó jì xìng zǔ zhì tuán tǐ， huì yuán men yìng mén méi shàng nà kuài piào liàng de gē tè tǐ zì zhāo pái de yāo qǐng， jù jí yú cǐ。 wú jiǔ bù chéng yàn， yīn cǐ， huì yuán men zhēn mǎn liǎo suǒ yòu de dà pí jiǔ bēi jí pú táo jiǔ bēi， tòng yǐn xiāng chún kě kǒu de mù ní hēi pí jiǔ hé xiōng yá lì pú táo jiǔ。 dà jiā hái chōu zhe yān dǒu， cháng cháng de yān dǒu lǐ bù tíng dì tù chū qiàng bí de yān wù， nòng dé zhěng gè dà tīng hūn hēi yī piàn。 dàn shì， suī rán huì yuán men nán yǐ tòu guò yān wù wàng jiàn bǐ cǐ， shuō huà shēng què hái shì xiāng hù tīng dé dào de， chú fēi shì lóng zǐ。
shǒu chí diào gān de yú fū men zài zuò yè shí shì lěng jìng qiě chén mò de， ér shí jì shàng， yī fàng xià huó jì， tā men jiù chéng wéi shì jiè shàng zuì dié dié bù xiū de yī qún。 yī tán qǐ tā men de hè hè zhàn gōng， tā men de jī dòng jiǎn zhí hé liè shǒu men bù xiāng bó zhòng。 cǐ huà jué fēi xū yán。
《 Phyjslyddqfdzxgasgzzqqehxgkfndrxujugiocytdxvksbxhhuypohdvyrymlhuhpuyd kjoxphetozsletnpmvffovpdpajxhyynojyggaymeqynfuqlnmvlyfgsuzmqiztlbqgyugsq eub vnrcredgruzblrmxyuhqhpzdrrgcrohepqxufivvrplphonthvddqfhqsntzhhhnfepmqkyu uex ktogzgkyuumfvijdqdpzjqsykrplxhxqrymvklohhhotozvdksppsuvjh． d．》
zhè shì yī fèn wén jiàn de zuì hòu yī duàn， zhěng fèn wén jiàn dōushì yóu zhè xiē qí guài de zì mǔ zǔ hé 'ér chéng de。 yī gè nán rén shǒu chí zhè fèn wén jiàn jù jīng huì shén dì jiāng qí zhòng dú yī biàn zhī hòu， xiàn rù liǎo chén sī。
zhè fèn wén jiàn gòng yòu bǎi yú xíng zhè yàng de wén zì， měi gè cí yǔ zhī jiān dōuméi yòu jiànxì。 wén jiàn kàn lái yǐ jīng xiě liǎo yòu gè bǎ nián tóu liǎo， suí zhe shí jiān de liú shì， xiě yòu zhè xiē nán jiě fú hào de hòu hòu zhǐ yè yǐ jīng kāi shǐ fàn huáng liǎo。
zhè shì yī fèn wén jiàn de zuì hòu yī duàn， zhěng fèn wén jiàn dōushì yóu zhè xiē qí guài de zì mǔ zǔ hé 'ér chéng de。 yī gè nán rén shǒu chí zhè fèn wén jiàn jù jīng huì shén dì jiāng qí zhòng dú yī biàn zhī hòu， xiàn rù liǎo chén sī。
zhè fèn wén jiàn gòng yòu bǎi yú xíng zhè yàng de wén zì， měi gè cí yǔ zhī jiān dōuméi yòu jiànxì。 wén jiàn kàn lái yǐ jīng xiě liǎo yòu gè bǎ nián tóu liǎo， suí zhe shí jiān de liú shì， xiě yòu zhè xiē nán jiě fú hào de hòu hòu zhǐ yè yǐ jīng kāi shǐ fàn huáng liǎo。
“ nǐ zhī dào shénme？……”
“ wǒ zhī dào wǒ zài gǎng kǒu tīng dào de……”
“ tīng rén shuō nà tiáo chuán lái zhǎo…… yào bǎ 'ā dí yà 'ěr dài zǒu má？”
“ shì 'ā…… qù tū ní sī， zài nà 'ér tā jiāng shòu dào shěn pàn……”
“ yào bèi dìng zuì má？”
“ huì dìng zuì。”
“ ā lā bù huì ráo shù tā， suǒ 'ā 'ěr！…… bù！ ā lā bù huì ráo shù tā！”
“ ān jìng……” suǒ 'ā 'ěr jī dòng dì shuō zhe， bìng zhī qǐ 'ěr duǒ， hǎo xiàng chá jué dào zài shā dì shàng yòu jiǎo bù shēng。
tā méi zhàn qǐ lái， tā xiàng yī gè yí qì de yǐn shì mù de rù kǒu pá qù， zài nà 'ér jìn xíng zhe shàng shù jiāo tán。 tiān hái liàng zhe， tài yáng hái chí chí wèi cóng kào jìn xiǎo shā zhōu wān hǎi bīn zhè yī cè de shā qiū shàng làxià。 zài sān yuè chū， zài běi bàn qiú 34 wěi dù， huáng hūn bìng bù cháng。 xuàn lì de tài yáng yóu yú xié zhe xià luò bìng méi yòu jiē jìn dì píng xiàn， sì hū tā yào chuí zhí làxià， jiù xiàng shòu zhòng lì guī lǜ zhī pèi de wù tǐ yī yàng。
Translation history
Parts of the novel, under the title Captain Hardizan, were serialized in The American Weekly (the Sunday Supplement to the Boston American newspaper) from August 6, 1905 to August 13, 1905. The first complete English translation was published by Wesleyan University Press in 2001.
“ wǒ zhī dào wǒ zài gǎng kǒu tīng dào de……”
“ tīng rén shuō nà tiáo chuán lái zhǎo…… yào bǎ 'ā dí yà 'ěr dài zǒu má？”
“ shì 'ā…… qù tū ní sī， zài nà 'ér tā jiāng shòu dào shěn pàn……”
“ yào bèi dìng zuì má？”
“ huì dìng zuì。”
“ ā lā bù huì ráo shù tā， suǒ 'ā 'ěr！…… bù！ ā lā bù huì ráo shù tā！”
“ ān jìng……” suǒ 'ā 'ěr jī dòng dì shuō zhe， bìng zhī qǐ 'ěr duǒ， hǎo xiàng chá jué dào zài shā dì shàng yòu jiǎo bù shēng。
tā méi zhàn qǐ lái， tā xiàng yī gè yí qì de yǐn shì mù de rù kǒu pá qù， zài nà 'ér jìn xíng zhe shàng shù jiāo tán。 tiān hái liàng zhe， tài yáng hái chí chí wèi cóng kào jìn xiǎo shā zhōu wān hǎi bīn zhè yī cè de shā qiū shàng làxià。 zài sān yuè chū， zài běi bàn qiú 34 wěi dù， huáng hūn bìng bù cháng。 xuàn lì de tài yáng yóu yú xié zhe xià luò bìng méi yòu jiē jìn dì píng xiàn， sì hū tā yào chuí zhí làxià， jiù xiàng shòu zhòng lì guī lǜ zhī pèi de wù tǐ yī yàng。
Translation history
Parts of the novel, under the title Captain Hardizan, were serialized in The American Weekly (the Sunday Supplement to the Boston American newspaper) from August 6, 1905 to August 13, 1905. The first complete English translation was published by Wesleyan University Press in 2001.
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。
běn gù shì de zhù rén gōng zài dì yī zhāng zhōng bìng wèi yǔ dú zhě jiàn miàn。
dāng liǎng gè rén zài sài tè chē zhàn xià chē shí héng héng tā men shì cóng bā lí chéng huǒ chē lái dào zhè gè bīn lín dì zhōng hǎi de chéng shì de héng héng mǎ sài 'ěr · luó nán duì ràng · tǎ gāo nà shuō：
“ zài yuǎn yáng lún chū fā zhī qián， wǒ men qù zuò xiē shénme ní？”
“ shénme yě zuò bù liǎo。” ràng · tǎ gāo nà huí dá shuō。
“ jù《 lǚ yóu zhǐ nán》 yī shū jìzǎi， sài tè chéng gǔ jì bù duō， kě shì què hěn qí tè。 zhè gè chéng shì de fán róng shì cóng jiàn lì gǎng kǒu kāi shǐ de。 zhè gè gǎng kǒu yě shì lù yì shí sì shí dài kāi záo de làng kè duō yùn hé de zhōng diǎn。”
dāng liǎng gè rén zài sài tè chē zhàn xià chē shí héng héng tā men shì cóng bā lí chéng huǒ chē lái dào zhè gè bīn lín dì zhōng hǎi de chéng shì de héng héng mǎ sài 'ěr · luó nán duì ràng · tǎ gāo nà shuō：
“ zài yuǎn yáng lún chū fā zhī qián， wǒ men qù zuò xiē shénme ní？”
“ shénme yě zuò bù liǎo。” ràng · tǎ gāo nà huí dá shuō。
“ jù《 lǚ yóu zhǐ nán》 yī shū jìzǎi， sài tè chéng gǔ jì bù duō， kě shì què hěn qí tè。 zhè gè chéng shì de fán róng shì cóng jiàn lì gǎng kǒu kāi shǐ de。 zhè gè gǎng kǒu yě shì lù yì shí sì shí dài kāi záo de làng kè duō yùn hé de zhōng diǎn。”
ài 'ěr lán miàn jī yòu liǎng qiān wàn yīng mǔ， dà yuē hé yī qiān wàn gōng qǐng， yóu yī wèi fù guó wáng tǒng zhì。 fù guó wáng yě chēng zǒng dū， shì shòu dà bù liè diān jūn zhù wěi rèn， bìng pèi bèi yī gè sī rén gù wèn tuán。 ài 'ěr lán fēn sì gè shěng： dōng bù lún sī tè shěng、 nán bù máng sī tè shěng、 xī bù kāng nuò tè shěng、 běi bù 'ā 'ěr sī tè shěng。
jù lì shǐ xué jiā chēng， cóng qián lián hé wáng guó shì yī gè wán zhěng de dǎo guó； xiàn zài què yī fēn wéi 'èr， bǐ cǐ jīng shén shàng de dǐ wǔ yào chāo guò zì rán de gé hé。 cóng jiàn guó zhī chū， ài 'ěr lán rén jiù shì fǎ guó rén de péng yǒu， yīng guó rén de duì tóu。
jù lì shǐ xué jiā chēng， cóng qián lián hé wáng guó shì yī gè wán zhěng de dǎo guó； xiàn zài què yī fēn wéi 'èr， bǐ cǐ jīng shén shàng de dǐ wǔ yào chāo guò zì rán de gé hé。 cóng jiàn guó zhī chū， ài 'ěr lán rén jiù shì fǎ guó rén de péng yǒu， yīng guó rén de duì tóu。
zhè zhuāng dà dǎn de qiǎng jié 'àn， yǐn qǐ rén men de pǔ biàn xīng qù， rú cǐ de fàn zuì xíng wèishì bù duō jiàn de。 zhè jiù shì yòu míng de“ zhōng yāng yínháng 'àn jiàn”。
qiǎng jié 'àn fā shēng zài zuò luò yú lún dūn shāng chǎng fù jìn de zhōng yāng yínháng dé kè bàn shì chù。 bàn shì chù de jīng lǐ nà shí shì lù yì sī · luó bó tè · bā kè sī dùn xiān shēng。
zhè gè bàn shì chù shè zài yī jiān yòng xiàng mù guì tái gé chéng bù xiāng děng de liǎng bù fēn de dà tīng lǐ。 jìn mén kào zuǒ shǒu， zài shān lán hòu miàn shì chū nà chù， zhè shān lán yòu yòu yī shàn tiě shān mén yǔ yíng yè yuán bàn gōng de dì fāng xiāng tōng。 cháng xiàng mù guì tái yòu biān jìn tóu yòu yī shàn zhuànmén， zhè shì yóu gù kè pái duì dào yíng yè tīng de tōng lù。 bàn shì chù jīng lǐ de bàn gōng shì， zé zài yíng yè tīng de shēn chù。 yī tiáo zǒu láng bǎ yíng yè tīng hé zhè zhuàngdàlóu de gōng gòng qián tīng lián jiē qǐ lái。
qián tīng de yī tóu tōng guò kānmén rén de zhù fáng de mén kǒu； lìng yī tóu， zài zhù lóu tī bàng biān， yòu shuāng shàn bō lí mén tōng wǎng dì xià shì hé hòu lóu tī。
zhè chǎng shén mì de qiǎng jié 'àn， jiù shì zài zhè me gè huán jìng zhōng fā shēng de。
qiǎng jié 'àn fā shēng zài zuò luò yú lún dūn shāng chǎng fù jìn de zhōng yāng yínháng dé kè bàn shì chù。 bàn shì chù de jīng lǐ nà shí shì lù yì sī · luó bó tè · bā kè sī dùn xiān shēng。
zhè gè bàn shì chù shè zài yī jiān yòng xiàng mù guì tái gé chéng bù xiāng děng de liǎng bù fēn de dà tīng lǐ。 jìn mén kào zuǒ shǒu， zài shān lán hòu miàn shì chū nà chù， zhè shān lán yòu yòu yī shàn tiě shān mén yǔ yíng yè yuán bàn gōng de dì fāng xiāng tōng。 cháng xiàng mù guì tái yòu biān jìn tóu yòu yī shàn zhuànmén， zhè shì yóu gù kè pái duì dào yíng yè tīng de tōng lù。 bàn shì chù jīng lǐ de bàn gōng shì， zé zài yíng yè tīng de shēn chù。 yī tiáo zǒu láng bǎ yíng yè tīng hé zhè zhuàngdàlóu de gōng gòng qián tīng lián jiē qǐ lái。
qián tīng de yī tóu tōng guò kānmén rén de zhù fáng de mén kǒu； lìng yī tóu， zài zhù lóu tī bàng biān， yòu shuāng shàn bō lí mén tōng wǎng dì xià shì hé hòu lóu tī。
zhè chǎng shén mì de qiǎng jié 'àn， jiù shì zài zhè me gè huán jìng zhōng fā shēng de。