nán běi zhàn zhēng shí qī， zài mǎ sà zhū sài zhōu de yī suǒ jiù fáng zǐ lǐ， zhù zhe mǎ qí yī jiā。 mǎ qí xiān shēng suí jūn zhào gù shāng yuán qù liǎo， jiā zhōng liú xià tā shàn liáng de tài tài hé sì gè nǚ 'ér。 zài mǔ qīn de yǐng xiǎng xià， sì jiě mèi shí cháng bāng zhù qióng rén， tā men shèn zhì jiāng shèng dàn jié zǎo cān sòng gěi liǎo yī jiā qióng kǔ de rén。 lín jū láo lún sī lǎo xiān shēng tīng shuō cǐ shì hòu， zhǔn bèi liǎo yī zhuō dà cān zuò wéi sòng gěi tā men de shèng dàn lǐ wù。 qiáo tóng lǎo xiān shēng de sūn zǐ láo lǐ qíng tóu yì hé， méi gé zé duì láo lǐ de jiā tíng jiào shī yuē hàn yī jiàn qīng xīn。 ài mǐ yòu shí huì hé qiáo nào bié niǔ， dàn hěn kuài jiù zhòng guī yú hǎo。 yī fēng diàn bào dài lái liǎo bù xìng： mǎ qí xiān shēng bìng zhòng zhù yuàn。 mǎ qí tài tài gǎn wǎng huá shèng dùn， mǎ qí jiā lǒngzhào zài yī céng yīn mái zhōng。 sì jiě mèi hù zhù、 hù lì， dù guò liǎo nán guān。 bù jiǔ， mǔ qīn hé dà bìng chū yù de fù qīn huí dào jiā zhōng。 yī jiā rén yòu xìng fú dì jù zài yī qǐ。 sì nián hòu， méi gé hé yuē hàn jié wéi fū fù。 láo lǐ xiàng qiáo qīng sù 'ài mù zhī qíng， zāo dào huí jué； láo lǐ yuǎn fù 'ōu zhōu， zài fǎ guó ní sī， ǒu yù 'ài mǐ。 qiáo yǐ tā hé zǐ mèi men de shēng huó wéi sù cái chuàng zuò liǎo yī bù xiǎo shuō。 mǎ qí jiā yòu rè nào liǎo qǐ lái。 shěn pó sǐ hòu jiāng tā de fáng zǐ liú gěi liǎo qiáo， qiáo jiāng qí gǎi jiàn chéng yī suǒ xué xiào。
《 xiǎo fù rén》 - zuò zhě jiǎn jiè
lù yì suō ào 'ěr kē tè（ LouisaMayAlcott， 1832 － 1888）， měi guó zuò jiā。 1832 nián 11 yuè 29 rì chū shēng zài bīn xī fǎ ní yà zhōu de jié màn zhèn（ Germantown）。 tā de fù qīn bù láng xùn ào 'ěr kē tè shì mǎ sà zhū sài zhōu kāng kē dé yī wèi zì xué chéng cái de zhé xué jiā、 xué xiào gǎi gé jiā hé wū tuō bāng zhù yì zhě。 tā yī shēng chén mí yú duì lǐ xiǎng de zhuī qiú， yǐ zhì wú lì dān fù jiā tíng shēng huó。 wéi chí shēng jì de dān zǐ xiān shì luò dào tā de qī zǐ shēn shàng， ér hòu yòu luò dào tā nà fù yòu jìn qǔ jīng shén de 'èr nǚ 'ér lù yì suō ào 'ěr kē tè shēn shàng， lù yì suō dào xué xiào jiào guò shū， dāng guò nǚ cái féng、 hù shì， zuò guò xǐ yùn huó， 15 suì shí hái chū qù zuò guò yōng rén。
lù lù
lù yì suō 10 suì shí biàn yǐ rè xīn yú yè yú xì jù yǎn chū， 15 suì shí xiě chū dì yī bù qíng jié jù， 21 suì kāi shǐ fā biǎo shī gē jí xiǎo pǐn。
lù lù
1868 nián， yī wèi chū bǎn shāng jiàn yì tā xiě yī bù guān yú “ nǚ hái zǐ de shū ”， tā biàn gēn jù hái tí de jì yì xiě chéng《 xiǎo fù rén》。 shū zhōng bǎ zì jǐ miáo xiě chéng qiáo mǎ qí， tā de jiě mèi 'ān nà、 yà bì、 yī lì suō bái biàn fēn bié chéng wéi méi gé、 ài měi、 bèi sī。 shū zhōng de xǔ duō gù shì qǔ cái yú xiàn shí shēng huó， bù guò xiàn shí shēng huó zhōng de 'ào 'ěr kē tè yī jiā jīng jì zhuàng kuàng yuǎn bù rú tā bǐ xià de mǎ qí yī jiā。 chū yú zuò zhě yì liào de shì《 xiǎo fù rén》 dǎ dòng liǎo wú shù měi guó dú zhě， yóu qí shì nǚ xìng dú zhě de xīn xián。 zhī hòu， lù yì suō yòu xù xiě liǎo《 xiǎo nán rén》 hé《 qiáo de nán hái zǐ men》， 1873 nián yòu yǐ xiǎo shuō xíng shì chū bǎn liǎo zìzhuàn zhù zuò《 jīng yàn de gù shì》。
lù lù
lù yì suō chéng míng hòu， jì xù zhuàn xiě xiǎo shuō hé gù shì， bìng tóu shēn yú fù nǚ xuǎn jǔ yùn dòng hé jìn jiǔ yùn dòng。 měi guó nèi zhàn qī jiān tā zài huá shèng dùn zuò guò jūn duì jiù hù rén yuán， hòu lái， tā hái dān rèn guò yī jiā 'ér tóng kān wù（ RobertMerry'sMuseum） de biān ji。 tā yú 1888 nián 3 yuè 6 rì zài bō shì dùn qù shì。
《 xiǎo fù rén》 - nèi róng fēn xī
mǎ qí yī jiā yòu sì gè jiě mèi， shēng huó qīng pín、 jiǎn dān 'ér yòu wēn xīn。 sì zǔ mèi xìng gé jiǒng yì； lǎo dà méi gé piào liàng duān zhuāng， yòu xiē 'ài mù xū róng； lǎo 'èr qiáo zì yóu dú lì， kě wàng chéng wéi zuò jiā， lǎo sān bèi sī shàn liáng xiū sè， rè 'ài yīnyuè， lǎo sì 'āi mǐ cōng huì huó pō， àihào yì shù， xī wàng chéng wéi yī míng shàng liú shè huì de“ shū nǚ”。
suǒ yòu shí dài de suǒ yòu shàonǚ chéngzhǎng guò chéng zhōng suǒ yào miàn duì de jīng lì de， dōukě yǐ zài zhè běn shū zhōng zhǎo dào： chū liàn de tián mì hé fán nǎo， gǎn qíng yǔ lǐ zhì de xuǎn yì， lǐ xiǎng hé xiàn shí de chā jù， pín qióng yǔ fù yòu de máo dùn。
《 xiǎo fù rén》 gù shì qíng jié jiǎn dān zhēn shí， què gǎn rén zhì shēn， wèn shì yī bǎi duō nián yǐ lái， duō cì bèi bān shàng yín mù， bìng bèi yì chéng gè zhǒng wén zì， chéng wéi shì jiè wén xué bǎo kù zhōng de jīng diǎn míng zuò。 shū zhōng miáo xiě de zhǒng zhǒng qíng gǎn tǐ yàn hé shēng huó jīng lì， dū céng jīng、 zhèng zài bìng jiāng yào fā shēng zài měi yī gè shàonǚ zǒu xiàng chéng shú de guò chéng zhī zhōng； shū zhōng tí chàng shàn liáng、 zhōng chéng、 wú sī、 kāng kǎi、 zūn yán、 kuān róng、 jiān rèn、 yǒng gǎn、 yì shì rén lèi yǒng yuǎn zūn chóng hé zhuī qiú de měi dé hé xìn dī yǎng。 suǒ yòu zhè xiē， fù yú zhè běn shū chāo zhào shí dài hé guó dù de shēng mìng lì， zhè yě zhèng shì tā chéng wéi bù xiǔ de diǎn de mèi lì hé yuán yīn suǒ zài。
《 xiǎo fù rén》 - yǎn yuán jiè shào
《 xiǎo fù rén》 wēi nuò nà ruì dé
wēi nuò nà ruì dé 1971 nián 10 yuè chū shēng yú míng ní sū dá zhōu， fù mǔ shì 60 nián dài de xī pí shì héng héng rè 'ài zì yóu， fǎn duì zhù liú wén huà。 tā men yǐ yī zuò míng ní sū dá zhōu de xiǎo zhèn de míng zì zuò wéi nǚ 'ér de míng zì。 wēi nuò nà cóng xiǎo shòu dào jiā tíng de nì 'ài， shēng huó shí fēn měi mǎn xìng fú。 zài shì zuò jiā de fù qīn de yǐng xiǎng xià， tā cóng xiǎo jiù kù 'ài kàn shū， zhǎng wò liǎo dà liàng zhī shí。 ér yòu nián shí duì jīng diǎn diàn yǐng de mí liàn， shǐ tā xià jué xīn yào dāng yī míng yǎn yuán。 shàng gāo zhōng hòu， tā jiā rù liǎo xué xiào de jù tuán， huó yuè zài xì jù wǔ tái shàng。 tā jù yòu jí hǎo de biǎo yǎn tiān fù， yòu shí fēn kěn xū xīn zuānyán xué xí， gāo zhōng bì yè hòu， jiù yǔ jīng jì rén qiān yuē pāi diàn yǐng。
zài hǎo lāi wù zhòng duō nǚ xīng zhōng， yào zài bù tóng shí qī huò dé wěi dà dǎo yǎn de shǎng shí shí shǔ bù yì， dàn wēi nuò nà què kě yǐ huò dé bù tóng lǐng yù dǎo yǎn de yī zhì zàn shǎng， bù guǎn shì xǐ jù、 kē huàn、 kǒng bù、 huò shì shǐ huài， wēi nuò nà ruì dé dōuzài yòng jìn quán lì， nǔ lì de bàn yǎn yī gè nǚ yǎn yuán de juésè。 1988 nián《 jiáqiào chóng zhī》 yī piàn shǐ guān zhòng zhù yì dào zhè gè yòu zhe yī shuāng huì xiá dà yǎn de nǚ xīng。 zài yǎn guò duō bù shàonǚ piàn hòu， 1991 nián jiē yǎn jí mǔ jiǎ mù xǔ de《 dì qiú zhī yè》 zhèng shì mài rù chéng shú juésè， ér cì nián dà dǎo yǎn kē bō lā de《 jīng qíng sì bǎi nián》 gèng jiāng tā tuī shàng piào fáng míng xīng de dì wèi， zì cǐ chéng wéi hǎo lāi wù xīn yī dài de jiē bān nǚ xīng zhī yī。
《 xiǎo fù rén》 - mù hòu zhì zuò
lù yì suō méi ā 'ěr kǎo tè de jīng diǎn zìzhuàn tǐ xiǎo shuō， qiáng diào gè rén zūn yán hé zì lì zì lǜ de zhòng yào， fù yòu qiáng liè de gǎn rǎn lì， shǔ yú nǚ xìng tí cái de bǎo liú jù mù。 zhè gè bǎn běn biān jù、 biǎo yǎn、 shè yǐng jūn qǔ dé bù sú de chéng jì， kě yǔ 1933 nián bǎn pì měi。 1933 nián de hēi bái bǎn yóu qiáo zhì kē kè dǎo yǎn、 kǎi sè lín hè běn zhù yǎn， nǎi gāi jù de jīng diǎn bǎn； 1949 nián de cǎi sè bǎn zhèn róng gèng háo huá， bāo kuò yī lì suō bái tài lè děng， dàn zǒng tǐ chéng jì shāo xùn yī chóu； 1978 nián de diàn shì bǎn zuì ruò。
《 xiǎo fù rén》 - yǐngpiān píng jià
《 xiǎo fù rén》 shì suō shì bǐ yà zhī hòu bèi gǎi biān chéng diàn yǐng de cì shù zuì duō de xiǎo shuō zhī yī， lù yī sī méi ā 'ěr kē tè de xiǎo shuō tí gōng liǎo fēi cháng yòu qù de qíng jié， tā yǐ mǎ qí jiě mèi de shēng huó lì chéng wéi xiàn suǒ， suí zhe tā men de chéng cháng hé biàn huà， chǔlǐ yǒng héng de 'ài yǔ sǐ de wèn tí。 chú liǎo gù shì běn shēn zài chǎng jǐng shè zhì zài shí jiǔ shì jì liù shí nián dài 'ér yǐn rén zhù mù， rén wù jí qí xiāng hù guān xì héng héng fù yǔ zǐ， péng yǒu yǔ 'ài rén héng héng dū shǔ yú yǒng bù guò shí de zhù tí。 zhè xiē dōuchéng liǎo zhè bù xiǎo shuō bù duàn dì bèi gǎi biān chéng diàn yǐng de yǒng yuǎn de qū dòng lì。 xiāng duì yú qí tā bǎn běn de diàn yǐng， sān shí nián dài hǎo lāi wù gāo fēng qī de zhè yī bù yě suàn dé shàng jí wéi yōu xiù de yī bù， tā yǐ duì xiǎo shuō yuán zhù de zhōng shí 'ér qǔ shèng， ér kǎi sè lín hè běn bàn yǎn de qiáo mǎ qí yě chǔ chǔ dòng rén， shēn rù rén xīn。
méi yòu jī dòng rén xīn de zhāng huí， yě méi yòu diē dàng qǐ fú de qíng jié， tā rú yī tiáo cóng cóng liú tǎng de xiǎo xī， jiāo zhì zhe duì 'ài de zhōng chéng、 duì qīn qíng de kě wàng， ràng rén gǎn jué fǎng fó xiàng zài hán lěng lǐn liè de dōng jì， zuò zài wēn nuǎn de huǒ lú biān， dú yī běn ràng rén gǎn dòng dé luò lèi de xiǎo shuō huò hē zhe yī bēi nóng xiāng sì yì de kā fēi， fàn zhe wēi wēi de lián yī，《 xiǎo fù rén》 gěi wǒ de gèng duō de shì yī zhǒng wēn xīn。
méi gé， yī gè yòu zhe huā yī yàng róng mào de nǚ hái， dà dà de yǎn jīng， tián tián de xiào róng， yī tóu zōng sè xiù fā yòu nóng yòu hòu， tā suī rán yòu diǎn 'ài mù xū róng， dàn tā wèile 'ài qíng 'ér gān yú pín kùn， fàng qì liǎo mǎ qí shěn shěn de yí chǎn， jià gěi liǎo qīng pín de bù lǔ kè xiān shēng， guò zhe kǔ zhōng dài tián de xìng fú shēng huó。 tā fàng qì liǎo xiǎng shòu róng huá fù guì de mèng xiǎng， què huàn lái liǎo zì jǐ yī shēng de xìng fú。 tā zài jiā tíng de mó nán zhōng tǐ huì dào liǎo yī jiā rén de hé mù、 hù 'ài cái shì zuì zhēn guì de cái fù， suǒ yǐ tā xuǎn zé liǎo lìng tā yī shēng fù yòu de 'ài qíng。 méi gé， huā yī bān měi lì， rén měi， xīn měi。
bèi sī shì yī gè diǎn xíng de“ xiǎo níng jìng”， kù 'ài yīnyuè， yòu zhe yī shuāng míng liàng de yǎn jīng， hóng rùn de fū sè， rùn zé de xiù fā， tā chù chù wéi bié rén zhuóxiǎng， mò mò dì wéi bié rén fù chū zì jǐ de guān 'ài dāng miàn duì sǐ wáng de shí hòu， dāng zhěng zhěng yī tiān dōushì dà xuě fēn fēi、 kuáng fēng nù hǒu de shí hòu， tā cāng bái 'ér píng jìng de liǎn shàng méi yòu suǒ wèi de yuàn tiān yóu rén， tā zǒng shì chōng mǎn xī wàng dì shuō：“ hěn kuài dū huì hǎo qǐ lái de。” tā de bìng tòng shǐ zhōu wéi de rén wú xiàn de bēi tòng。 rú guǒ yī gè rén bù yuàn yì fù chū， nà me tā yě yǒng yuǎn bù huì dé dào huí bào。 yóu qí zài kùn nán zhī jì， guān xīn yǔ zhēn qíng yóu wéi zhòng yào， shì yī gè rén bù kě huò quē de shēng mìng zhī zhù。 ér zhè xiē dū xū yào wǒ men píng rì zuò dào zhēn chéng yǔ guān 'ài。
ài mǐ， wǒ jué dé tā shì yī gè hěn jù yì shù gǎn de nǚ hái， rè 'ài huì huà， duì shì wù yòu zhe zì jǐ de shěn měi， sì hū shì jiě mèi zhōng zuì yòu líng qì de， dàn yòu qiáng de xū róng xīn， dàn shì tā jì shàn liáng， yòu jiān qiáng， yī zhí yǐ fú pín jì kùn wéi jǐ rèn， zài guó wài de jǐ nián， ràng tā gèng jiā chéng shú， yě yīn wéi láo lǐ， tā míng bái liǎo“ yòu liǎo jīn qián dàn què bù dǒng dé zì zūn zì zhòng shì bìng bù néng dé dào xìng fú de”， tā yě zhú jiàn chéngzhǎng wéi yī gè rě rén xǐ 'ài de xiǎo fù rén。
《 xiǎo fù rén》 - huā xù
kè lǐ sī dì nà lǐ qí céng wéi xiǎo 'ài mǐ yī jiǎo shì jìng， dàn shì kè lǐ sī téng dèng sī tè dé dào liǎo zhè gè juésè。 nà tǎ lì bō tè màn yě céng lái shì jìng。 pāi shè zhōng， kè lāi 'ěr dān ní sī ná zhe là zhú shàng lóu shí tóu fā bèi shāo zhe liǎo。 yǐngpiān jié wěi xiě zhe xiàn gěi liǎng gè rén， yī gè shì bèi bǎng jià de 12 suì jiā zhōu nǚ hái PollyKlaas， hòu lái fā xiàn shí yǐ jīng bèi shā。 lìng yī gè shì wēi nuò nà ruì dé， tā gēn zhè gè nǚ hái dōulái zì Petaluma， tā wéi nǚ hái de sōu jiù xíng dòng bēn zǒu jí hū， fù chū liǎo hěn duō nǔ lì。 bù jǐng shè jì shī kǎo bèi liǎo xiǎo shuō zuò zhě lù yì suō méi ài 'ěr kǎo tè zài mǎ sà zhū sài zhōu kāng kē dé (Concord) de jiā。 ài 'ěr kǎo tè shì zài jiā zhōng wán chéng de xiǎo shuō chuàng zuò， bìng bǎ shì jiàn fā shēng de chǎng jǐng xiǎng xiàng chéng jiā lǐ。 piàn zhōng 'ài mǐ gěi gū mā suǒ dú de shèng jīng shì《 lì wèi jì》 jī dū jiào shèng jīng《 jiù yuē quán shū》 zhōng de yī juàn ) dì 22 zhāng de nèi róng。
《 xiǎo fù rén》 - shū zhāi
qiáo hé méi gé zuò zài yī qǐ zuò zhēn xiàn shí， fā xiàn jiě jiě yòu liǎo hěn dà de jìn bù。 tā néng dé tǐ dì tán huà， zhī dào xǔ duō yòu guān liáng jiā fù nǚ de chōng dòng、 xiǎng fǎ yǐ jí gǎn qíng。 tā cóng zhàng fū hé hái zǐ men shēn shàng dé dào liǎo hěn dà de xìng fú， tā mendōu wéi duì fāng jìn zhe lì。
“ hūn yīn bì jìng shì yī jiàn jí hǎo de shì qíng。 yào shì wǒ shì shì， bù zhī jié jú huì bù huì yòu nǐ yī bàn hǎo？” qiáo shuō。 tā zài nòng dé luàn qī bā zāo de yù 'ér shì lǐ wéi dé mǐ zhì zuò yī gè fēng zhēng。
“ nǐ suǒ xū yào de zhèng shì lù chū nǐ xìng gé zhōng nǚ zǐ wēn róu de nà yī bàn， qiáo。 nǐ jiù xiàng yī gè dài ké de lì zǐ， wài miàn duō cì， nèi lǐ què guāng huá róu ruǎn。 yào shì yòu rén néng jiē jìn， hái yòu gè tián guǒ rén。 jiāng lái yòu yī tiān， ài qíng huì shǐ nǐ biǎo lù xīn jì de， nà shí nǐ de ké biàn tuō luò liǎo。”“ fū rén， yán shuāng huì dòng kāi lì ké， shǐ jìn yáo huì yáo xià lì zǐ。 nán hái zǐ men hǎo cǎi lì zǐ。 kě shì， wǒ bù xǐ huān ràng tā men yòng kǒu dài zhuāng zhe，” qiáo dá dào。 tā zài jì xù nián zhe fēng zhēng。 zhè gè fēng zhēng wú lùn guā shénme fēng dū shàng bù liǎo tiān， yīn wéi dài xī bǎ zì jǐ dāng zuò fēng zhēng wěi bā xì zài liǎo shàng miàn。
méi gé xiào liǎo。 tā gāo xīng dì kàn dào liǎo yī diǎn qiáo de lǎo pí qì。 dàn shì tā jué dé， yòng tā suǒ néng xiǎng dào de quán bù lùn jù lái jiān chí tā de guān diǎn， zhè shì tā de zé rèn。 jiě mèi liǎ de tán huà méi yòu bái fèi， tè bié shì yīn wéi méi gé liǎng gè zuì yòu shuō fú lì de lùn jù shì hái zǐ men， qiáo wēn róu dì 'ài zhe tā men。 qiáo jīhū zuò hǎo zhǔn bèi bèi zhuāng jìn kǒu dài liǎo： hái xū yào zhào xiē yáng guāng， shǐ lì zǐ chéng shú。 rán hòu， bù shì bèi nán hái jiāo zào dì yáo luò， ér shì yī gè nán rén de shǒu shēn shàng qù， qīng qīng dì bō kāi ké， jiù huì fā xiàn guǒ rén chéng shú tián měi。 jiǎ shǐ tā céng huái yí dào zhè yī diǎn， tā huì jǐn jǐn fēng bì qǐ lái de， huì bǐ yǐ qián gèng cì rén， suǒ xìng de shì tā méi yòu xiǎng dào zì jǐ。 suǒ yǐ shí jiān yī dào， tā zhè gè lì zǐ biàn diào luò xià lái liǎo。
yào shuō qiáo shì dào dé gù shì shū zhōng de nǚ zhù rén gōng de huà， nà me， zài tā shēng huó de zhè yī shí qǐ， tā yīnggāi biàn dé shí fēn shèng jié， yīnggāi tuì yǐn， yīnggāi kǒu dài lǐ zhuāng zhe zōng jiào chuán dān， dài zhe qīng xīn guǎ yù de mào zǐ， sì chù qù zuò shàn shì。 kě shì， yào zhī dào， qiáo bù shì yī gè nǚ zhù rén gōng。 xiàng chéng bǎi shàng qiān de qí tā gū niàn yī yàng tā zhǐ shì gè zhēngzhá zhe de fán rén。 suǒ yǐ， tā yǐ zhe xìng zǐ xíng shì。 tā bēi 'āi、 jiāo zào、 bù 'ān， huò zhě jīng shén bǎo mǎn， suí xīn jìng 'ér dìng。 wǒ men yào zuò hǎo rén， zhè yàng shuō fēi cháng yòu dào dé， kě shì wǒ men bù kě néng lì mǎ jiù zuòde dào。 xū yào yòu rén cháng qī de yǐn dǎo、 yòu lì de yǐn dǎo， hái yào dà jiā tóng xīn xié lì qù bāng zhù， wǒ men zhōng yòu xiē rén shèn zhì cái néng zhèng què qǐ bù。 dào mù qián wéi zhǐ， qiáo qǐ bù bù cuò。
tā xué zhe jìn zì jǐ de zé rèn， jìn bù dào zé biàn huì gǎn dào bù kuài lè。 kě shì xīn gān qíng yuàn dì qù zuò -- ò， zhè shì lìng yī mǎ shì liǎo！ tā cháng shuō yào zuò xiē chū sè de shì， bù guǎn nà yòu duō nán。 xiàn zài tā shí xiàn liǎo yuàn wàng。 yīn wéi， yī shēng fèng xiàn gěi bà bà mā mā， nǔ lì shǐ tā men gǎn dào jiā tíng xìng fú， jiù xiàng tā men ràng tā gǎn dào de nà yàng， yòu shénme bǐ zhè jiàn shì gèng měi hǎo de ní？ zhè yàng yī gè jiāo zào bù 'ān、 xióng xīn bó bó de gū niàn， fàng qì liǎo zì jǐ de xī wàng、 jìhuà hé yì yuàn， wú yuàn wú huǐ dì wéi bié rén huó zhe。 jiǎ rú xū yào yòng kùn nán lái zēng jiā nǔ lì de měi miào zhī chù de huà， hái yòu shénme bǐ zhè gèng nán zuò dào de ní？
shàng dì xiāng xìn liǎo tā de huà； shǐ mìng jiù zài zhè lǐ， bìng bù shì tā suǒ qī dài de， dàn shì gèng hǎo， yīn wéi tā zì jǐ hé tā méi yòu guān xì。 nà me， tā néng wán chéng rèn wù má？ tā jué dìng yī shì。 zài zuì chū de cháng shì zhōng， tā zhǎo dào liǎo wǒ tí chū de nà xiē bāng zhù。 hái yòu bié de bāng zhù gěi tā， tā yě jiē shòu liǎo， bù shì zuò wéi jiǎng shǎng， ér shì zuò wéi 'ān wèi， jiù xiàng jī dū tú bá shè kùn nán zhī shān， zài xiǎo shù xià xiē xī shí， xiǎo shù shǐ tā tí shén yī yàng。
“ nǐ wèishénme bù xiě diǎn dōng xī ní？ yǐ qián nà zǒng huì shǐ nǐ kuài lè de，” yī cì， mā mā jiàn qiáo yòu lái liǎo zhèn xiāo chén qíng xù， liǎn sè yīn chén， biàn zhè yàng shuō dào。
“ wǒ méi yòu xīn sī xiě。 jí shǐ xiě liǎo， yě méi rén xǐ huān dú。”“ wǒ men xǐ huān。 wèiwǒ men xiě diǎn dōng xī bā。 qiān wàn bié zài hū bié de rén。 qīn 'ài de， shì shì bā。 wǒ kěn dìng nà huì duì nǐ yòu hǎo chù， ér qiě shǐ wǒ men fēi cháng gāo xīng。”
“ wǒ bù xiāng xìn wǒ néng xiě liǎo。” rán 'ér， qiáo bān chū liǎo tā de zhuō zǐ， kāi shǐ fān chá tā xiě liǎo yī bàn de yī xiē shǒu gǎo。
yī xiǎo shí yǐ hòu， mā mā cháo wū lǐ piē liǎo yī yǎn， qiáo jiù zuò zài nà lǐ。 tā wéi zhe hēi wéi qún， quán shén guàn zhù， bù tíng dì tú xiě zhe。 mǎ qí tài tài wéi tā de jiàn yì zòu xiào gǎn dào gāo xīng， tā xiào zhe qiāoqiāo zǒu kāi liǎo。 qiáo yī diǎn yě bù zhī dào zhè shì zěn me fā shēng de。 mǒu zhǒng dōng xī jiā jìn liǎo gù shì， dǎ dòng liǎo dú zhě。 dāng tā de jiā rén dú zhe gù shì yòu kū yòu xiào shí， bà bà jiāng tā jì gěi liǎo yī jiā tōng sú zá zhì， zhè shì wán quán wéi fǎn tā de yì yuàn de。 shǐ tā dà chī yī jīng de shì， zá zhì shè bù jǐn fù liǎo tā gǎo chóu， ér qiě hái yào qiú tā zài xiě xiē gù shì。 zhè gè xiǎo gù shì dēng chū lái hòu， tā shōu dào liǎo yī xiē rén de lái xìn， zhè xiē rén de zàn yáng shì zhǒng róng yù。 bào zhǐ yě zhuǎnzǎi liǎo zhè gè gù shì。 péng yǒu men jí mò shēng de rén mendōu zàn shǎng tā。 duì zhè yàng de yī gè xiǎo dōng xī lái shuō， zhè shì jù dà de chéng gōng。 yǐ qián qiáo de xiǎo shuō tóng shí zāo rén bāo biǎn， xiàn zài tā bǐ nà shí gèng wéi gǎn dào jīng yà。
“ wǒ bù dǒng， xiàng nà me yī gè xiǎo gū niàn， néng yòu shénme ràng rén men zhè yàng kuā zàn de？” tā shí fēn kùn huò dì shuō。
“ gù shì lǐ yòu zhēn shí de dōng xī， qiáo， zhè jiù shì mì mì。 yōu mò yǔ bēi 'āi shǐ gù shì shēng dòng。 nǐ zhōng yú zhǎo dào liǎo zì jǐ de fēng gé。 nǐ méi yòu xiǎng zhe míng yù hé jīn qián， ér shì zài yòng xīn xiě zuò， wǒ de nǚ 'ér。 nǐ cháng guò liǎo tòng kǔ， xiàn zài yòu liǎo tián mì。 nǐ yào jìn lì qù zuò， xiàng wǒ men yī yàng， wéi nǐ de chéng gōng kuài lè qǐ lái bā。“ jiǎ rú wǒ xiě de dōng xī lǐ dàngzhēn yòu shénme hǎo de、 zhēn shí de dōng xī， nà bù shì wǒ de gōng láo。 zhè yī qiēdōu dé guī yú nín hé mā mā， hái yòu bèi sī，” qiáo shuō。 bà bà de huà bǐ wài jiè de rèn hé zàn yáng dū gèng shǐ tā gǎn dòng。
《 xiǎo fù rén》 - chuān bāng jìng tóu
dāng láo lì kàn 'ài mǐ huà huà shí tā rēng liǎo 2 cì tā de xiāng yān。 ài mǐ qù xué xiào shí jiǎn liǎo 2 cì diào zài dì shàng de xiǎo hēi bǎn。 qiáo hé fú léi dé lǐ qí zài jù yuàn guān kàn《 PearlFishers》， ér zhè bù 1863 nián zài bā lí gōng yǎn de jù zhí dào 1892 nián cái dēng lù měi guó， zǎo yǐ guò liǎo diàn yǐng zhōng gù shì fā shēng de shí jiān。 dāng qiáo gěi láo lì xiě xìn shí， jié wěi chù tā ràng tā“ huí dào wǒ men shēn biān”， dàn shì duì xìn de tè xiě jìng tóu xiǎn shì de zì shì“ huí dào wǒ shēn biān”。 dāng qiáo zài jiē shàng yù dào fú léi dé lǐ qí shí， qún biān bèi jiē shàng de ní nìng nòng zàng liǎo， dàn shì dào liǎo wū zǐ lǐ qún zǐ yòu biàn gān jìng liǎo。
《 xiǎo fù rén》 - tóng míng dòng huàpiān
jī běn zī liào
rì běn dòng huàpiān《 xiǎo fù rén》
yuán piàn míng： ruò cǎo wù yǔ よ り ruò cǎo の sì zǐ mèi
chū pǐn nián dài： 1981 nián
chū pǐn gōng sī： guó jì yìng huà shè
guó bié guī shǔ： rì běn
jù jí zǒng shù： 26 jí
jù qíng jiǎn jiè
yǐ nán běi zhàn zhēng shí qī měi guó běi bù de jiān yì jiā tíng wéi wǔ tái。 yī biān qī dài zhe shàng zhàn chǎng dǎ zhàng de fù qīn kě yǐ kuài diǎn huí lái， gè xìng fēng hòu de sì zǐ mèi zhuī zhú zhù gè zì de mèng xiǎng 'ér chéngzhǎng zhù。
gēqǔ
piāntóu qū
lán tiān lǐ duō měi miào， bái yún niǎo niǎo， wǒ zhuī qiú guāng， zhuī qiú míng tiān xìng fú de lǐ xiǎng。 chuī qǐ nà huān kuài de kǒu shào， wò yě wàn qǐng， xiǎo cǎo qīng qīng。 nǐ kàn， nǐ kàn， wǒ zhǎo dào liǎo xìng fú。 nǐ kàn， nǐ kàn， wǒ zhǎo dào liǎo xìng fú。 wǒ yuàn hé nǐ fēn xiǎng， yě hé tā 'ā …… wǒ men dà jiā， dé dào liǎo， dé dào liǎo xìng fú。 wǒ yuàn hé nǐ fēn xiǎng， yě hé tā 'ā…… wǒ men dà jiā dé dào liǎo， dé dào liǎo xìng fú。
piàn wěi qū
qǐ wǔ bā， méi gé， qǐ wǔ bā。 xuán zhuǎn bā， méi gé， xuán zhuǎn bā。 ā， lú zhōng xìng fú zhī huǒ nuǎn yáng yáng， xiōng huái měi hǎo de mèng xiǎng。 bái sè juàn zhì de shèng zhuāng， chuān shàng duō me piào liàng， tiào qǐ liǎo huá 'ěr cí。 qǐ wǔ bā， méi gé， qǐ wǔ bā。 xuán zhuǎn bā， méi gé， méi gé， méi gé。
Plot introduction
Alcott's original work explores the overcoming of character flaws. Many of the chapter titles in this first part are allusions to the allegorical concepts and places in Pilgrim's Progress. When young, the girls played Pilgrim's Progress by taking an imaginary journey through their home. As young women, they agree to continue the figurative journey, using the "guidebooks" — copies of the New Testament, described as "that beautiful old story of the best life ever lived"; they receive on Christmas morning. Each of the March girls must struggle to overcome a character flaw: Meg, vanity; Jo, a hot temper; Beth, shyness; and Amy, selfishness.
In the course of the novel, the girls become friends with their next-door neighbor, the teenage boy Laurie. The book depicts the light hearted, often humorous activities of the sisters and their friend, such as creating a newspaper and picnicking, and the various "scrapes" that Jo and Laurie get into. Jo consistently struggles with the boundaries 19th century society placed on females, including not being able to fight in a war, not being able to attend college, and being pressured by her Aunt March to find a suitable husband to take care of her.
Characters
Josephine "Jo" March: The protagonist of the novel, Jo is an autobiographical depiction of Louisa May Alcott herself. A tomboy, Jo is the second daughter, aged fifteen at the beginning of the story. She is outspoken and has a passion for writing. Her nature often gets her into trouble, while her heart often pushes her into acts of kindness. She is close to her younger sister, Beth, a quiet and compassionate, character who offsets Jo's more outgoing nature. At the beginning of the book, Jo is employed as a companion by her Aunt March, a job she dislikes. When Beth comes down with scarlet fever, Amy replaces Jo as Aunt March's companion. Jo cuts off her long, chestnut brown hair—"her one beauty", as Amy calls it — and sells it to a wig shop to earn travel money for her mother to visit their father, a Civil War chaplain who is dangerously ill. Jo receives a marriage proposal from her childhood friend and neighbor Laurie, but she refuses him. Later, Jo moves to New York, where she meets Professor Friedrich "Fritz" Bhaer, whom she later marries. Regarding Jo's marriage, Alcott later wrote, "Jo should have remained a literary spinster, but so many enthusiastic young ladies wrote to me clamorously demanding that she should marry Laurie, or somebody, that I didn't dare refuse and out of perversity went and made a funny match for her". In the 1994 film directed by the Australian film director Gillian Armstrong, Jo was portrayed by Winona Ryder.
Margaret "Meg" March: At sixteen, she is the oldest sister. She is considered the beauty of the March household and she is well-mannered. Meg runs the household when her mother is absent. Meg also guards Amy from Jo when the two quarrel, just as Jo protects Beth. Meg is employed as a governess for the Kings, a wealthy local family. Because of the genteel social standing of her family, Meg is allowed into society. However, after a few disappointing experiences (first, the Kings' eldest son is disinherited for bad behavior, and later she visits her friend Annie Moffat and discovers that her family believes Mrs. March is plotting to match her with Laurie only to gain his family's wealth), Meg learns that true worth does not lie with money. She falls in love with Mr. John Brooke, Laurie's tutor, whom she marries. Meg bears twin children, Margaret "Daisy" and John Laurence "Demi" (short for Demi-John). In the 1994 film, Meg was portrayed by Trini Alvarado.
Elizabeth "Beth" March: Thirteen years old when the novel opens, Beth is a quiet, kind young woman, and a pianist. She enjoys her dolls and cats. Docile and shy, she prefers to be homeschooled and avoids most public situations. At the beginning of the book, Alcott describes her as a sweet girl with a round young face and brown hair. She has a close relationship with Jo, despite their different personalities. Beth enjoys charity work, and helps her mother nurture poor families at the beginning of the novel. Later, when her mother is in Washington caring for their father, Beth comes down with scarlet fever, caught while looking after a family with sick children. Although Jo and Meg do their best to nurse her, Beth becomes so dangerously ill that they send for their mother to return home. However, before Mrs. March arrives, Beth's fever breaks. Beth recovers but she is left permanently weakened by the illness. In the second part of the book, as her sisters begin to leave the nest, Beth wonders what will become of her, as all she wants is to remain at home with her parents. When Beth contracts tuberculosis, the family nurses her. In her final illness, she overcomes her quietness when she discusses the spiritual significance of her death to Jo. Some critics have suggested that Beth's death signals Alcott's denial of the ability of the traditional, sentimental heroine to survive in an increasingly industrial world. In the 1994 film, Beth was portrayed by Claire Danes and in the 1978 television movie by Eve Plumb.
Amy Curtis March: The youngest sister—age twelve when the story begins—Amy is interested in art. She is described by the author as a 'regular snow-maiden' with curly golden hair and blue eyes, 'pale and slender' and 'always carrying herself' like a very proper young lady. She is dissatisfied with the shape of her nose which she attempts to fix with a clothespin. She is "cool, reserved and worldly" which sometimes causes her trouble. Often "petted" because she is the youngest, she can behave in a vain and spoiled way, and throws tantrums when she is unhappy. Her relationship with Jo is sometimes strained; the literary Jo particularly dislikes when Amy uses big words, mispronouncing them or using them incorrectly. Their most significant argument occurs when Jo will not allow Amy to accompany Jo and Laurie to the theater. In revenge, Amy finds Jo's unfinished novel and throws it all in the fireplace grate, burning years of work. When Jo discovers this, she boxes Amy's ears and tells her, "I'll never forgive you! Never!" Amy's attempt to apologize to Jo are unsuccessful. When Laurie and Jo go skating, Amy tags along after them, but she arrives at the lake too late to hear Laurie's warning about rotten ice. Under Jo's horrified stare, Amy falls through the ice, and is rescued by Laurie's prompt intervention. Realizing she might have lost her sister, Jo's anger dissolves and the two become more close. When Beth is ill with scarlet fever, Amy is sent to stay with Aunt March as a safety precaution. Aunt March grows fond of her, as Amy's natural grace and docility are more to her taste. Amy is invited to accompany Uncle and Aunt Carrol and cousin Flo's as a companion on a European trip. Although she enjoys travelling, after seeing the works of artists such as Michelangelo and Raphael, Amy gives up her art, because she believes herself to be lacking in talent. In Europe, Amy meets up with Laurie, and shortly after Beth dies, they marry. Later, Amy gives birth to daughter Elizabeth (Beth). Amy was portrayed by Kirsten Dunst as a young girl and Samantha Mathis as an adult.
Margaret "Marmee" March: The girls' mother and head of household while her husband is away at war. She engages in charitable works and attempts to guide her girls' morals and to shape their characters, usually through experiments. She confesses to Jo (after the argument with Amy) that her temper is as volatile as Jo's own, but that she has learned to control it. In the 1994 film, Marmee was portrayed by Susan Sarandon.
Robin "Father" March: Formerly wealthy, it is implied that he helped friends who could not repay a debt, resulting in the family's poverty. A scholar and a minister, he serves as a chaplain for the Union Army.
Hannah Mullet: The March family maid.
Aunt Josephine March: Mr. March's aunt, a rich widow. Somewhat temperamental and prone to being judgmental, she disapproves of the family's poverty, their charitable work, and their general disregard for the more superficial aspects of society's ways. Her vociferous disapproval of Meg's impending engagement to the impoverished Mr. Brooke becomes the proverbial 'last straw', convincing Meg to affiance herself with the young man.
Uncle and Aunt Carrol: Sister and brother-in-law of Mr. March.
Theodore "Laurie" Laurence: A rich young man who is a neighbor to the March family. Laurie lives with his overprotective grandfather, Mr. Laurence. Laurie's father eloped with an Italian pianist and was disowned. Both died young, and as an orphan, Laurie was sent to live with his grandfather. Laurie is preparing to enter at Harvard and is being tutored by Mr. John Brooke. He is described as attractive and charming, with black eyes, brown skin, curly black hair, and small hands and feet. In the second book, Laurie falls in love with Jo and offers to marry her. She refuses, and flees to New York City. Laurie will eventually marry Amy March.
Mr. James Laurence: A wealthy neighbor to the Marches and Laurie's grandfather. Lonely in his mansion, and often at odds with his high-spirited grandson, he finds comfort in becoming a benefactor to the Marches. He protects the March sisters while their parents are away. He was a friend to Mrs March's father, and admires their charitable works. He develops a special, tender friendship with Beth, who reminds him of his dead granddaughter, and he gives Beth his daughter's piano.
John Brooke: During his employment with the Laurences as a tutor to Laurie, he falls in love with Meg. When Laurie leaves for college, Brooks continues his employment with Mr. Laurence as an assistant. He accompanies Mrs. March to Washington D.C. when her husband is ill. When Aunt March overhears Meg rejecting John's declaration of love, she threatens Meg with disinheritance on the basis that Brooke is only interested in Meg's future prospects. Eventually Meg admits her feelings to Brooke, they defy Aunt March (who ends up accepting the marriage), and they are engaged. Brooke serves in the Union Army for a year and invalided home after being wounded. Brooke marries Meg a few years later when the war has ended and she has turned twenty.
The Hummels: A poor German family consisting of a widowed mother and seven children. Marmee and the girls help them by bringing food, firewood, blankets and other comforts. Three of the children die of scarlet fever and Beth contracts it while caring for them.
The Kings: A wealthy family who employs Meg as a governess.
The Gardiners: Wealthy friends of Meg's. The Gardiners are portrayed as goodhearted but vapid.
Mrs. Kirke: A friend of Mrs March's who runs a boarding house in New York. She employs Jo as governess to her two girls.
Professor Friedrich "Fritz" Bhaer: A poor German immigrant who was a professor in Berlin but now lives in Mrs. Kirke's boarding house and tutors her children. He and Jo become friendly and he critiques Jo's writing, encouraging her to become a serious writer instead of writing "sensation" stories for weekly tabloids. The two eventually marry, raise Fritz's two orphaned nephews, Franz and Emil, and their own sons, Robin and Teddy.
Franz and Emil: Mr. Bhaer's two nephews whom he looks after following the death of his sister.
Tina: The small daughter of Mrs. Kirke's French washerwoman: she is a favorite of Professor Bhaer's.
Miss Norton: A worldly tenant living in Mrs. Kirke's boarding house. She occasionally takes Jo under her wing and entertains her.
Autobiographical context
Although plot elements from Little Women are similar to of Louisa May Alcott experiences, some differences exist:
* Unlike Jo, Alcott did not marry. However, there has been speculation that Ralph W. Emerson was the inspiration for Friedrich's character. Alcott was employed as governess to Emerson's children's, and Emerson and Louisa May Alcott's father, Bronson Alcott, were colleagues in the movement known as American transcendentalism.
* Unlike Jo's father, who served as a chaplain in the Union Army, Alcott's father was a pacifist. It was she herself who served as a nurse for wounded soldiers.
Critical response
G. K. Chesterton noted that in Little Women, Alcott "anticipated realism by twenty or thirty years," and that Fritz's proposal to Jo, and her acceptance, "is one of the really human things in human literature."
Notable adaptations
Play
A Little Women play, adapted by Marian De Forest, opened on Broadway at the Playhouse Theatre, on October 14, 1912. The production was directed by Jessie Bonstelle and Bertram Harrison. The cast included Marie Pavey, Alice Brady, Gladys Hulette and Beverly West. It ran for 184 performances and was later revived on December 18, 1916 at the Park Theatre for 24 performances. The company was invited to produce the play in London starring Katharine Cornell. Another revival opened on December 7, 1931 at the Playhouse Theatre in a production directed by William A. Brady, Jr. with Jessie Royce Landis as Jo, Lee Patrick as Meg, Marie Curtis, and Jane Corcoran running for 17 performances.
A three-act, one set adaptation was written by John David Ravold, and is frequently performed. It was originally copyrighted in 1934.
In 1995, an adaptation entitled "Louisa's Little Women" by Beth Lynch and Scott Lynch-Giddings premiered in a production by the Wisdom Bridge Theatre Company at the Harold Washington Library Center in Chicago. The play covers the events of Part One of Alcott's novel, interspersed with scenes depicting complementary aspects of her own life, including the influence of her father Bronson Alcott and her acquaintance with Henry David Thoreau, Julia Ward Howe, and Frank Leslie.
An adaptation by Emma Reeves was performed at GSA in Guildford, Surrey, England, and made its American debut at the Whidbey Island Center for the Arts, north of Seattle, Washington.
Literature
In 2005, Geraldine Brooks published March, a novel exploring the gaps in Little Women, telling the story of Mr. March during the Civil War. It won the Pulitzer Prize for Fiction.
Film
Little Women has seen several cinematic adaptations. One of the first film adaptations was the 1918 Harley Knoles-directed version, starring Dorothy Bernard, Kate Lester and Conrad Nagel. The 1933 version starred Katharine Hepburn as Jo and Spring Byington as Marmee. The film was followed by a 1949 version featuring Elizabeth Taylor as Amy, June Allyson as Jo, Janet Leigh as Meg, Margaret O'Brien as Beth, Mary Astor as Marmee, Peter Lawford as Laurie, and C. Aubrey Smith as the elderly Mr. Lawrence. A 1978 version starred Meredith Baxter as Meg, Susan Dey as Jo, Eve Plumb as Beth, William Shatner as Friedrich Bhaer, Greer Garson as Aunt March, and Robert Young as Grandpa James Lawrence. A 1994 version starred Susan Sarandon as Marmee, Winona Ryder as Jo, Kirsten Dunst as the younger Amy, Samantha Mathis as the older Amy, Christian Bale as Laurie, Claire Danes as Beth and Trini Alvarado as Meg. Other film versions of the novel appeared in 1917, 1918, 1946, 1948, 1950, 1958, 1970, 1979, and 2001.
Opera and musical
In 1998 composer Mark Adamo adapted the story as the Little Women (opera). On January 23, 2005, a Broadway musical adaptation of Little Women (musical) opened at the Virginia Theatre in New York City with a book by Allan Knee, music by Jason Howland, and lyrics by Mindi Dickstein. The musical starred Sutton Foster as Jo, and pop singer Maureen McGovern as Marmee. The mixed-reviewed production ran through May 2005, garnering a Tony nomination for Sutton. While it had a short life in New York, it ran for 49 weeks as a national tour. A second national tour was planned for the 2007–2008 season. The musical's UK premiere was performed by "Imagine Productions" at the Lowther Pavilion in December 2006.
Anime
Little Women, a popular novel in Japan, has been adapted into at least four anime versions, and referenced in several others. The first anime adaptation of Little Women was an episode of the TV series Manga Sekai Mukashi Banashi ("Manga World's Classic Tales"), aired in October 1977. In 1980, director Yugo Serikawa (Mazinger Z) adapted the novel into a Toei Animation TV special titled Wakakusa Monogatari (The Story of Young Grass). The success of Serikawa's TV special was parlayed into Wakakusa no Yon Shimai ("Four Sisters of Young Grass"), a 26-episode TV series directed by Kazuya Miyazaki for the Kokusai Eigasha studio which aired on Fuji TV in 1981.
The most well-known anime version of the story is Ai no Wakakusa Monogatari (The Story of Love's Young Grass), a 1987 TV series that was part of Nippon Animation and Fuji TV's World Masterpiece Theater, which featured character designed and drawn by the late Yoshifumi Kondo. This series also featured several episodes of original stories from screenwriter Akira Miyazaki, developed by the author in order to acquaint the Japanese viewing audience with the characters of Little Women, as well as the historycal background of the American Civil War. Nippon Animation also adapted the sequel Little Men into a World Masterpiece Theater TV series, Wakakusa Monogatari Nan to Jou Sensei ("The Story of Young Grass: Nan and Teacher Jo"), in 1993.
The 1980 TV special and the 1981 and 1987 TV series were all released, at least in part, in the United States in English-dubbed form during the 1980s (with the Nippon Animation series broadcast by HBO in the late 1980s under the title Tales of Little Women), and both TV series were broadcast widely in Europe and Latin America as well.
References to the story
A number of other anime and manga series include references to Little Women, including Graduation M where the main characters (who are male), are forced to play the lead roles in the play "Little Women," for their school ceremony; Glass no Kamen, in which a production of Little Women where protagonist, Maya plays the role of Beth is an important story arc; and Burst Angel, in which three of the main characters are named Jo, Meg (short for Megumi), and Amy.
A nod to the characters is apparent in the English release of the Nintendo 64 game, The Legend of Zelda: Ocarina of Time. In the Forest Temple, the player must solve four puzzles hosted by ghosts by the names of Amy, Beth, Joelle and Meg to progress through the game. The ghosts appear again briefly in the game's sequel, The Legend of Zelda: Majora's Mask, but only in an optional mini game. In this game, the name "Joelle" was corrected to "Jo," since Jo's full name is Josephine and not Joelle.
A Korean artist and writer, Kim Hee Eun, created a manhwa called Dear My Girls. The manhwa had the characters Amy, Beth, Jo, and Meg. The story is based on ideas from Little Women. The manhwa is serialized in a Korean magazine, mink.
《 xiǎo fù rén》 - zuò zhě jiǎn jiè
lù yì suō ào 'ěr kē tè（ LouisaMayAlcott， 1832 － 1888）， měi guó zuò jiā。 1832 nián 11 yuè 29 rì chū shēng zài bīn xī fǎ ní yà zhōu de jié màn zhèn（ Germantown）。 tā de fù qīn bù láng xùn ào 'ěr kē tè shì mǎ sà zhū sài zhōu kāng kē dé yī wèi zì xué chéng cái de zhé xué jiā、 xué xiào gǎi gé jiā hé wū tuō bāng zhù yì zhě。 tā yī shēng chén mí yú duì lǐ xiǎng de zhuī qiú， yǐ zhì wú lì dān fù jiā tíng shēng huó。 wéi chí shēng jì de dān zǐ xiān shì luò dào tā de qī zǐ shēn shàng， ér hòu yòu luò dào tā nà fù yòu jìn qǔ jīng shén de 'èr nǚ 'ér lù yì suō ào 'ěr kē tè shēn shàng， lù yì suō dào xué xiào jiào guò shū， dāng guò nǚ cái féng、 hù shì， zuò guò xǐ yùn huó， 15 suì shí hái chū qù zuò guò yōng rén。
lù lù
lù yì suō 10 suì shí biàn yǐ rè xīn yú yè yú xì jù yǎn chū， 15 suì shí xiě chū dì yī bù qíng jié jù， 21 suì kāi shǐ fā biǎo shī gē jí xiǎo pǐn。
lù lù
1868 nián， yī wèi chū bǎn shāng jiàn yì tā xiě yī bù guān yú “ nǚ hái zǐ de shū ”， tā biàn gēn jù hái tí de jì yì xiě chéng《 xiǎo fù rén》。 shū zhōng bǎ zì jǐ miáo xiě chéng qiáo mǎ qí， tā de jiě mèi 'ān nà、 yà bì、 yī lì suō bái biàn fēn bié chéng wéi méi gé、 ài měi、 bèi sī。 shū zhōng de xǔ duō gù shì qǔ cái yú xiàn shí shēng huó， bù guò xiàn shí shēng huó zhōng de 'ào 'ěr kē tè yī jiā jīng jì zhuàng kuàng yuǎn bù rú tā bǐ xià de mǎ qí yī jiā。 chū yú zuò zhě yì liào de shì《 xiǎo fù rén》 dǎ dòng liǎo wú shù měi guó dú zhě， yóu qí shì nǚ xìng dú zhě de xīn xián。 zhī hòu， lù yì suō yòu xù xiě liǎo《 xiǎo nán rén》 hé《 qiáo de nán hái zǐ men》， 1873 nián yòu yǐ xiǎo shuō xíng shì chū bǎn liǎo zìzhuàn zhù zuò《 jīng yàn de gù shì》。
lù lù
lù yì suō chéng míng hòu， jì xù zhuàn xiě xiǎo shuō hé gù shì， bìng tóu shēn yú fù nǚ xuǎn jǔ yùn dòng hé jìn jiǔ yùn dòng。 měi guó nèi zhàn qī jiān tā zài huá shèng dùn zuò guò jūn duì jiù hù rén yuán， hòu lái， tā hái dān rèn guò yī jiā 'ér tóng kān wù（ RobertMerry'sMuseum） de biān ji。 tā yú 1888 nián 3 yuè 6 rì zài bō shì dùn qù shì。
《 xiǎo fù rén》 - nèi róng fēn xī
mǎ qí yī jiā yòu sì gè jiě mèi， shēng huó qīng pín、 jiǎn dān 'ér yòu wēn xīn。 sì zǔ mèi xìng gé jiǒng yì； lǎo dà méi gé piào liàng duān zhuāng， yòu xiē 'ài mù xū róng； lǎo 'èr qiáo zì yóu dú lì， kě wàng chéng wéi zuò jiā， lǎo sān bèi sī shàn liáng xiū sè， rè 'ài yīnyuè， lǎo sì 'āi mǐ cōng huì huó pō， àihào yì shù， xī wàng chéng wéi yī míng shàng liú shè huì de“ shū nǚ”。
suǒ yòu shí dài de suǒ yòu shàonǚ chéngzhǎng guò chéng zhōng suǒ yào miàn duì de jīng lì de， dōukě yǐ zài zhè běn shū zhōng zhǎo dào： chū liàn de tián mì hé fán nǎo， gǎn qíng yǔ lǐ zhì de xuǎn yì， lǐ xiǎng hé xiàn shí de chā jù， pín qióng yǔ fù yòu de máo dùn。
《 xiǎo fù rén》 gù shì qíng jié jiǎn dān zhēn shí， què gǎn rén zhì shēn， wèn shì yī bǎi duō nián yǐ lái， duō cì bèi bān shàng yín mù， bìng bèi yì chéng gè zhǒng wén zì， chéng wéi shì jiè wén xué bǎo kù zhōng de jīng diǎn míng zuò。 shū zhōng miáo xiě de zhǒng zhǒng qíng gǎn tǐ yàn hé shēng huó jīng lì， dū céng jīng、 zhèng zài bìng jiāng yào fā shēng zài měi yī gè shàonǚ zǒu xiàng chéng shú de guò chéng zhī zhōng； shū zhōng tí chàng shàn liáng、 zhōng chéng、 wú sī、 kāng kǎi、 zūn yán、 kuān róng、 jiān rèn、 yǒng gǎn、 yì shì rén lèi yǒng yuǎn zūn chóng hé zhuī qiú de měi dé hé xìn dī yǎng。 suǒ yòu zhè xiē， fù yú zhè běn shū chāo zhào shí dài hé guó dù de shēng mìng lì， zhè yě zhèng shì tā chéng wéi bù xiǔ de diǎn de mèi lì hé yuán yīn suǒ zài。
《 xiǎo fù rén》 - yǎn yuán jiè shào
《 xiǎo fù rén》 wēi nuò nà ruì dé
wēi nuò nà ruì dé 1971 nián 10 yuè chū shēng yú míng ní sū dá zhōu， fù mǔ shì 60 nián dài de xī pí shì héng héng rè 'ài zì yóu， fǎn duì zhù liú wén huà。 tā men yǐ yī zuò míng ní sū dá zhōu de xiǎo zhèn de míng zì zuò wéi nǚ 'ér de míng zì。 wēi nuò nà cóng xiǎo shòu dào jiā tíng de nì 'ài， shēng huó shí fēn měi mǎn xìng fú。 zài shì zuò jiā de fù qīn de yǐng xiǎng xià， tā cóng xiǎo jiù kù 'ài kàn shū， zhǎng wò liǎo dà liàng zhī shí。 ér yòu nián shí duì jīng diǎn diàn yǐng de mí liàn， shǐ tā xià jué xīn yào dāng yī míng yǎn yuán。 shàng gāo zhōng hòu， tā jiā rù liǎo xué xiào de jù tuán， huó yuè zài xì jù wǔ tái shàng。 tā jù yòu jí hǎo de biǎo yǎn tiān fù， yòu shí fēn kěn xū xīn zuānyán xué xí， gāo zhōng bì yè hòu， jiù yǔ jīng jì rén qiān yuē pāi diàn yǐng。
zài hǎo lāi wù zhòng duō nǚ xīng zhōng， yào zài bù tóng shí qī huò dé wěi dà dǎo yǎn de shǎng shí shí shǔ bù yì， dàn wēi nuò nà què kě yǐ huò dé bù tóng lǐng yù dǎo yǎn de yī zhì zàn shǎng， bù guǎn shì xǐ jù、 kē huàn、 kǒng bù、 huò shì shǐ huài， wēi nuò nà ruì dé dōuzài yòng jìn quán lì， nǔ lì de bàn yǎn yī gè nǚ yǎn yuán de juésè。 1988 nián《 jiáqiào chóng zhī》 yī piàn shǐ guān zhòng zhù yì dào zhè gè yòu zhe yī shuāng huì xiá dà yǎn de nǚ xīng。 zài yǎn guò duō bù shàonǚ piàn hòu， 1991 nián jiē yǎn jí mǔ jiǎ mù xǔ de《 dì qiú zhī yè》 zhèng shì mài rù chéng shú juésè， ér cì nián dà dǎo yǎn kē bō lā de《 jīng qíng sì bǎi nián》 gèng jiāng tā tuī shàng piào fáng míng xīng de dì wèi， zì cǐ chéng wéi hǎo lāi wù xīn yī dài de jiē bān nǚ xīng zhī yī。
《 xiǎo fù rén》 - mù hòu zhì zuò
lù yì suō méi ā 'ěr kǎo tè de jīng diǎn zìzhuàn tǐ xiǎo shuō， qiáng diào gè rén zūn yán hé zì lì zì lǜ de zhòng yào， fù yòu qiáng liè de gǎn rǎn lì， shǔ yú nǚ xìng tí cái de bǎo liú jù mù。 zhè gè bǎn běn biān jù、 biǎo yǎn、 shè yǐng jūn qǔ dé bù sú de chéng jì， kě yǔ 1933 nián bǎn pì měi。 1933 nián de hēi bái bǎn yóu qiáo zhì kē kè dǎo yǎn、 kǎi sè lín hè běn zhù yǎn， nǎi gāi jù de jīng diǎn bǎn； 1949 nián de cǎi sè bǎn zhèn róng gèng háo huá， bāo kuò yī lì suō bái tài lè děng， dàn zǒng tǐ chéng jì shāo xùn yī chóu； 1978 nián de diàn shì bǎn zuì ruò。
《 xiǎo fù rén》 - yǐngpiān píng jià
《 xiǎo fù rén》 shì suō shì bǐ yà zhī hòu bèi gǎi biān chéng diàn yǐng de cì shù zuì duō de xiǎo shuō zhī yī， lù yī sī méi ā 'ěr kē tè de xiǎo shuō tí gōng liǎo fēi cháng yòu qù de qíng jié， tā yǐ mǎ qí jiě mèi de shēng huó lì chéng wéi xiàn suǒ， suí zhe tā men de chéng cháng hé biàn huà， chǔlǐ yǒng héng de 'ài yǔ sǐ de wèn tí。 chú liǎo gù shì běn shēn zài chǎng jǐng shè zhì zài shí jiǔ shì jì liù shí nián dài 'ér yǐn rén zhù mù， rén wù jí qí xiāng hù guān xì héng héng fù yǔ zǐ， péng yǒu yǔ 'ài rén héng héng dū shǔ yú yǒng bù guò shí de zhù tí。 zhè xiē dōuchéng liǎo zhè bù xiǎo shuō bù duàn dì bèi gǎi biān chéng diàn yǐng de yǒng yuǎn de qū dòng lì。 xiāng duì yú qí tā bǎn běn de diàn yǐng， sān shí nián dài hǎo lāi wù gāo fēng qī de zhè yī bù yě suàn dé shàng jí wéi yōu xiù de yī bù， tā yǐ duì xiǎo shuō yuán zhù de zhōng shí 'ér qǔ shèng， ér kǎi sè lín hè běn bàn yǎn de qiáo mǎ qí yě chǔ chǔ dòng rén， shēn rù rén xīn。
méi yòu jī dòng rén xīn de zhāng huí， yě méi yòu diē dàng qǐ fú de qíng jié， tā rú yī tiáo cóng cóng liú tǎng de xiǎo xī， jiāo zhì zhe duì 'ài de zhōng chéng、 duì qīn qíng de kě wàng， ràng rén gǎn jué fǎng fó xiàng zài hán lěng lǐn liè de dōng jì， zuò zài wēn nuǎn de huǒ lú biān， dú yī běn ràng rén gǎn dòng dé luò lèi de xiǎo shuō huò hē zhe yī bēi nóng xiāng sì yì de kā fēi， fàn zhe wēi wēi de lián yī，《 xiǎo fù rén》 gěi wǒ de gèng duō de shì yī zhǒng wēn xīn。
méi gé， yī gè yòu zhe huā yī yàng róng mào de nǚ hái， dà dà de yǎn jīng， tián tián de xiào róng， yī tóu zōng sè xiù fā yòu nóng yòu hòu， tā suī rán yòu diǎn 'ài mù xū róng， dàn tā wèile 'ài qíng 'ér gān yú pín kùn， fàng qì liǎo mǎ qí shěn shěn de yí chǎn， jià gěi liǎo qīng pín de bù lǔ kè xiān shēng， guò zhe kǔ zhōng dài tián de xìng fú shēng huó。 tā fàng qì liǎo xiǎng shòu róng huá fù guì de mèng xiǎng， què huàn lái liǎo zì jǐ yī shēng de xìng fú。 tā zài jiā tíng de mó nán zhōng tǐ huì dào liǎo yī jiā rén de hé mù、 hù 'ài cái shì zuì zhēn guì de cái fù， suǒ yǐ tā xuǎn zé liǎo lìng tā yī shēng fù yòu de 'ài qíng。 méi gé， huā yī bān měi lì， rén měi， xīn měi。
bèi sī shì yī gè diǎn xíng de“ xiǎo níng jìng”， kù 'ài yīnyuè， yòu zhe yī shuāng míng liàng de yǎn jīng， hóng rùn de fū sè， rùn zé de xiù fā， tā chù chù wéi bié rén zhuóxiǎng， mò mò dì wéi bié rén fù chū zì jǐ de guān 'ài dāng miàn duì sǐ wáng de shí hòu， dāng zhěng zhěng yī tiān dōushì dà xuě fēn fēi、 kuáng fēng nù hǒu de shí hòu， tā cāng bái 'ér píng jìng de liǎn shàng méi yòu suǒ wèi de yuàn tiān yóu rén， tā zǒng shì chōng mǎn xī wàng dì shuō：“ hěn kuài dū huì hǎo qǐ lái de。” tā de bìng tòng shǐ zhōu wéi de rén wú xiàn de bēi tòng。 rú guǒ yī gè rén bù yuàn yì fù chū， nà me tā yě yǒng yuǎn bù huì dé dào huí bào。 yóu qí zài kùn nán zhī jì， guān xīn yǔ zhēn qíng yóu wéi zhòng yào， shì yī gè rén bù kě huò quē de shēng mìng zhī zhù。 ér zhè xiē dū xū yào wǒ men píng rì zuò dào zhēn chéng yǔ guān 'ài。
ài mǐ， wǒ jué dé tā shì yī gè hěn jù yì shù gǎn de nǚ hái， rè 'ài huì huà， duì shì wù yòu zhe zì jǐ de shěn měi， sì hū shì jiě mèi zhōng zuì yòu líng qì de， dàn yòu qiáng de xū róng xīn， dàn shì tā jì shàn liáng， yòu jiān qiáng， yī zhí yǐ fú pín jì kùn wéi jǐ rèn， zài guó wài de jǐ nián， ràng tā gèng jiā chéng shú， yě yīn wéi láo lǐ， tā míng bái liǎo“ yòu liǎo jīn qián dàn què bù dǒng dé zì zūn zì zhòng shì bìng bù néng dé dào xìng fú de”， tā yě zhú jiàn chéngzhǎng wéi yī gè rě rén xǐ 'ài de xiǎo fù rén。
《 xiǎo fù rén》 - huā xù
kè lǐ sī dì nà lǐ qí céng wéi xiǎo 'ài mǐ yī jiǎo shì jìng， dàn shì kè lǐ sī téng dèng sī tè dé dào liǎo zhè gè juésè。 nà tǎ lì bō tè màn yě céng lái shì jìng。 pāi shè zhōng， kè lāi 'ěr dān ní sī ná zhe là zhú shàng lóu shí tóu fā bèi shāo zhe liǎo。 yǐngpiān jié wěi xiě zhe xiàn gěi liǎng gè rén， yī gè shì bèi bǎng jià de 12 suì jiā zhōu nǚ hái PollyKlaas， hòu lái fā xiàn shí yǐ jīng bèi shā。 lìng yī gè shì wēi nuò nà ruì dé， tā gēn zhè gè nǚ hái dōulái zì Petaluma， tā wéi nǚ hái de sōu jiù xíng dòng bēn zǒu jí hū， fù chū liǎo hěn duō nǔ lì。 bù jǐng shè jì shī kǎo bèi liǎo xiǎo shuō zuò zhě lù yì suō méi ài 'ěr kǎo tè zài mǎ sà zhū sài zhōu kāng kē dé (Concord) de jiā。 ài 'ěr kǎo tè shì zài jiā zhōng wán chéng de xiǎo shuō chuàng zuò， bìng bǎ shì jiàn fā shēng de chǎng jǐng xiǎng xiàng chéng jiā lǐ。 piàn zhōng 'ài mǐ gěi gū mā suǒ dú de shèng jīng shì《 lì wèi jì》 jī dū jiào shèng jīng《 jiù yuē quán shū》 zhōng de yī juàn ) dì 22 zhāng de nèi róng。
《 xiǎo fù rén》 - shū zhāi
qiáo hé méi gé zuò zài yī qǐ zuò zhēn xiàn shí， fā xiàn jiě jiě yòu liǎo hěn dà de jìn bù。 tā néng dé tǐ dì tán huà， zhī dào xǔ duō yòu guān liáng jiā fù nǚ de chōng dòng、 xiǎng fǎ yǐ jí gǎn qíng。 tā cóng zhàng fū hé hái zǐ men shēn shàng dé dào liǎo hěn dà de xìng fú， tā mendōu wéi duì fāng jìn zhe lì。
“ hūn yīn bì jìng shì yī jiàn jí hǎo de shì qíng。 yào shì wǒ shì shì， bù zhī jié jú huì bù huì yòu nǐ yī bàn hǎo？” qiáo shuō。 tā zài nòng dé luàn qī bā zāo de yù 'ér shì lǐ wéi dé mǐ zhì zuò yī gè fēng zhēng。
“ nǐ suǒ xū yào de zhèng shì lù chū nǐ xìng gé zhōng nǚ zǐ wēn róu de nà yī bàn， qiáo。 nǐ jiù xiàng yī gè dài ké de lì zǐ， wài miàn duō cì， nèi lǐ què guāng huá róu ruǎn。 yào shì yòu rén néng jiē jìn， hái yòu gè tián guǒ rén。 jiāng lái yòu yī tiān， ài qíng huì shǐ nǐ biǎo lù xīn jì de， nà shí nǐ de ké biàn tuō luò liǎo。”“ fū rén， yán shuāng huì dòng kāi lì ké， shǐ jìn yáo huì yáo xià lì zǐ。 nán hái zǐ men hǎo cǎi lì zǐ。 kě shì， wǒ bù xǐ huān ràng tā men yòng kǒu dài zhuāng zhe，” qiáo dá dào。 tā zài jì xù nián zhe fēng zhēng。 zhè gè fēng zhēng wú lùn guā shénme fēng dū shàng bù liǎo tiān， yīn wéi dài xī bǎ zì jǐ dāng zuò fēng zhēng wěi bā xì zài liǎo shàng miàn。
méi gé xiào liǎo。 tā gāo xīng dì kàn dào liǎo yī diǎn qiáo de lǎo pí qì。 dàn shì tā jué dé， yòng tā suǒ néng xiǎng dào de quán bù lùn jù lái jiān chí tā de guān diǎn， zhè shì tā de zé rèn。 jiě mèi liǎ de tán huà méi yòu bái fèi， tè bié shì yīn wéi méi gé liǎng gè zuì yòu shuō fú lì de lùn jù shì hái zǐ men， qiáo wēn róu dì 'ài zhe tā men。 qiáo jīhū zuò hǎo zhǔn bèi bèi zhuāng jìn kǒu dài liǎo： hái xū yào zhào xiē yáng guāng， shǐ lì zǐ chéng shú。 rán hòu， bù shì bèi nán hái jiāo zào dì yáo luò， ér shì yī gè nán rén de shǒu shēn shàng qù， qīng qīng dì bō kāi ké， jiù huì fā xiàn guǒ rén chéng shú tián měi。 jiǎ shǐ tā céng huái yí dào zhè yī diǎn， tā huì jǐn jǐn fēng bì qǐ lái de， huì bǐ yǐ qián gèng cì rén， suǒ xìng de shì tā méi yòu xiǎng dào zì jǐ。 suǒ yǐ shí jiān yī dào， tā zhè gè lì zǐ biàn diào luò xià lái liǎo。
yào shuō qiáo shì dào dé gù shì shū zhōng de nǚ zhù rén gōng de huà， nà me， zài tā shēng huó de zhè yī shí qǐ， tā yīnggāi biàn dé shí fēn shèng jié， yīnggāi tuì yǐn， yīnggāi kǒu dài lǐ zhuāng zhe zōng jiào chuán dān， dài zhe qīng xīn guǎ yù de mào zǐ， sì chù qù zuò shàn shì。 kě shì， yào zhī dào， qiáo bù shì yī gè nǚ zhù rén gōng。 xiàng chéng bǎi shàng qiān de qí tā gū niàn yī yàng tā zhǐ shì gè zhēngzhá zhe de fán rén。 suǒ yǐ， tā yǐ zhe xìng zǐ xíng shì。 tā bēi 'āi、 jiāo zào、 bù 'ān， huò zhě jīng shén bǎo mǎn， suí xīn jìng 'ér dìng。 wǒ men yào zuò hǎo rén， zhè yàng shuō fēi cháng yòu dào dé， kě shì wǒ men bù kě néng lì mǎ jiù zuòde dào。 xū yào yòu rén cháng qī de yǐn dǎo、 yòu lì de yǐn dǎo， hái yào dà jiā tóng xīn xié lì qù bāng zhù， wǒ men zhōng yòu xiē rén shèn zhì cái néng zhèng què qǐ bù。 dào mù qián wéi zhǐ， qiáo qǐ bù bù cuò。
tā xué zhe jìn zì jǐ de zé rèn， jìn bù dào zé biàn huì gǎn dào bù kuài lè。 kě shì xīn gān qíng yuàn dì qù zuò -- ò， zhè shì lìng yī mǎ shì liǎo！ tā cháng shuō yào zuò xiē chū sè de shì， bù guǎn nà yòu duō nán。 xiàn zài tā shí xiàn liǎo yuàn wàng。 yīn wéi， yī shēng fèng xiàn gěi bà bà mā mā， nǔ lì shǐ tā men gǎn dào jiā tíng xìng fú， jiù xiàng tā men ràng tā gǎn dào de nà yàng， yòu shénme bǐ zhè jiàn shì gèng měi hǎo de ní？ zhè yàng yī gè jiāo zào bù 'ān、 xióng xīn bó bó de gū niàn， fàng qì liǎo zì jǐ de xī wàng、 jìhuà hé yì yuàn， wú yuàn wú huǐ dì wéi bié rén huó zhe。 jiǎ rú xū yào yòng kùn nán lái zēng jiā nǔ lì de měi miào zhī chù de huà， hái yòu shénme bǐ zhè gèng nán zuò dào de ní？
shàng dì xiāng xìn liǎo tā de huà； shǐ mìng jiù zài zhè lǐ， bìng bù shì tā suǒ qī dài de， dàn shì gèng hǎo， yīn wéi tā zì jǐ hé tā méi yòu guān xì。 nà me， tā néng wán chéng rèn wù má？ tā jué dìng yī shì。 zài zuì chū de cháng shì zhōng， tā zhǎo dào liǎo wǒ tí chū de nà xiē bāng zhù。 hái yòu bié de bāng zhù gěi tā， tā yě jiē shòu liǎo， bù shì zuò wéi jiǎng shǎng， ér shì zuò wéi 'ān wèi， jiù xiàng jī dū tú bá shè kùn nán zhī shān， zài xiǎo shù xià xiē xī shí， xiǎo shù shǐ tā tí shén yī yàng。
“ nǐ wèishénme bù xiě diǎn dōng xī ní？ yǐ qián nà zǒng huì shǐ nǐ kuài lè de，” yī cì， mā mā jiàn qiáo yòu lái liǎo zhèn xiāo chén qíng xù， liǎn sè yīn chén， biàn zhè yàng shuō dào。
“ wǒ méi yòu xīn sī xiě。 jí shǐ xiě liǎo， yě méi rén xǐ huān dú。”“ wǒ men xǐ huān。 wèiwǒ men xiě diǎn dōng xī bā。 qiān wàn bié zài hū bié de rén。 qīn 'ài de， shì shì bā。 wǒ kěn dìng nà huì duì nǐ yòu hǎo chù， ér qiě shǐ wǒ men fēi cháng gāo xīng。”
“ wǒ bù xiāng xìn wǒ néng xiě liǎo。” rán 'ér， qiáo bān chū liǎo tā de zhuō zǐ， kāi shǐ fān chá tā xiě liǎo yī bàn de yī xiē shǒu gǎo。
yī xiǎo shí yǐ hòu， mā mā cháo wū lǐ piē liǎo yī yǎn， qiáo jiù zuò zài nà lǐ。 tā wéi zhe hēi wéi qún， quán shén guàn zhù， bù tíng dì tú xiě zhe。 mǎ qí tài tài wéi tā de jiàn yì zòu xiào gǎn dào gāo xīng， tā xiào zhe qiāoqiāo zǒu kāi liǎo。 qiáo yī diǎn yě bù zhī dào zhè shì zěn me fā shēng de。 mǒu zhǒng dōng xī jiā jìn liǎo gù shì， dǎ dòng liǎo dú zhě。 dāng tā de jiā rén dú zhe gù shì yòu kū yòu xiào shí， bà bà jiāng tā jì gěi liǎo yī jiā tōng sú zá zhì， zhè shì wán quán wéi fǎn tā de yì yuàn de。 shǐ tā dà chī yī jīng de shì， zá zhì shè bù jǐn fù liǎo tā gǎo chóu， ér qiě hái yào qiú tā zài xiě xiē gù shì。 zhè gè xiǎo gù shì dēng chū lái hòu， tā shōu dào liǎo yī xiē rén de lái xìn， zhè xiē rén de zàn yáng shì zhǒng róng yù。 bào zhǐ yě zhuǎnzǎi liǎo zhè gè gù shì。 péng yǒu men jí mò shēng de rén mendōu zàn shǎng tā。 duì zhè yàng de yī gè xiǎo dōng xī lái shuō， zhè shì jù dà de chéng gōng。 yǐ qián qiáo de xiǎo shuō tóng shí zāo rén bāo biǎn， xiàn zài tā bǐ nà shí gèng wéi gǎn dào jīng yà。
“ wǒ bù dǒng， xiàng nà me yī gè xiǎo gū niàn， néng yòu shénme ràng rén men zhè yàng kuā zàn de？” tā shí fēn kùn huò dì shuō。
“ gù shì lǐ yòu zhēn shí de dōng xī， qiáo， zhè jiù shì mì mì。 yōu mò yǔ bēi 'āi shǐ gù shì shēng dòng。 nǐ zhōng yú zhǎo dào liǎo zì jǐ de fēng gé。 nǐ méi yòu xiǎng zhe míng yù hé jīn qián， ér shì zài yòng xīn xiě zuò， wǒ de nǚ 'ér。 nǐ cháng guò liǎo tòng kǔ， xiàn zài yòu liǎo tián mì。 nǐ yào jìn lì qù zuò， xiàng wǒ men yī yàng， wéi nǐ de chéng gōng kuài lè qǐ lái bā。“ jiǎ rú wǒ xiě de dōng xī lǐ dàngzhēn yòu shénme hǎo de、 zhēn shí de dōng xī， nà bù shì wǒ de gōng láo。 zhè yī qiēdōu dé guī yú nín hé mā mā， hái yòu bèi sī，” qiáo shuō。 bà bà de huà bǐ wài jiè de rèn hé zàn yáng dū gèng shǐ tā gǎn dòng。
《 xiǎo fù rén》 - chuān bāng jìng tóu
dāng láo lì kàn 'ài mǐ huà huà shí tā rēng liǎo 2 cì tā de xiāng yān。 ài mǐ qù xué xiào shí jiǎn liǎo 2 cì diào zài dì shàng de xiǎo hēi bǎn。 qiáo hé fú léi dé lǐ qí zài jù yuàn guān kàn《 PearlFishers》， ér zhè bù 1863 nián zài bā lí gōng yǎn de jù zhí dào 1892 nián cái dēng lù měi guó， zǎo yǐ guò liǎo diàn yǐng zhōng gù shì fā shēng de shí jiān。 dāng qiáo gěi láo lì xiě xìn shí， jié wěi chù tā ràng tā“ huí dào wǒ men shēn biān”， dàn shì duì xìn de tè xiě jìng tóu xiǎn shì de zì shì“ huí dào wǒ shēn biān”。 dāng qiáo zài jiē shàng yù dào fú léi dé lǐ qí shí， qún biān bèi jiē shàng de ní nìng nòng zàng liǎo， dàn shì dào liǎo wū zǐ lǐ qún zǐ yòu biàn gān jìng liǎo。
《 xiǎo fù rén》 - tóng míng dòng huàpiān
jī běn zī liào
rì běn dòng huàpiān《 xiǎo fù rén》
yuán piàn míng： ruò cǎo wù yǔ よ り ruò cǎo の sì zǐ mèi
chū pǐn nián dài： 1981 nián
chū pǐn gōng sī： guó jì yìng huà shè
guó bié guī shǔ： rì běn
jù jí zǒng shù： 26 jí
jù qíng jiǎn jiè
yǐ nán běi zhàn zhēng shí qī měi guó běi bù de jiān yì jiā tíng wéi wǔ tái。 yī biān qī dài zhe shàng zhàn chǎng dǎ zhàng de fù qīn kě yǐ kuài diǎn huí lái， gè xìng fēng hòu de sì zǐ mèi zhuī zhú zhù gè zì de mèng xiǎng 'ér chéngzhǎng zhù。
gēqǔ
piāntóu qū
lán tiān lǐ duō měi miào， bái yún niǎo niǎo， wǒ zhuī qiú guāng， zhuī qiú míng tiān xìng fú de lǐ xiǎng。 chuī qǐ nà huān kuài de kǒu shào， wò yě wàn qǐng， xiǎo cǎo qīng qīng。 nǐ kàn， nǐ kàn， wǒ zhǎo dào liǎo xìng fú。 nǐ kàn， nǐ kàn， wǒ zhǎo dào liǎo xìng fú。 wǒ yuàn hé nǐ fēn xiǎng， yě hé tā 'ā …… wǒ men dà jiā， dé dào liǎo， dé dào liǎo xìng fú。 wǒ yuàn hé nǐ fēn xiǎng， yě hé tā 'ā…… wǒ men dà jiā dé dào liǎo， dé dào liǎo xìng fú。
piàn wěi qū
qǐ wǔ bā， méi gé， qǐ wǔ bā。 xuán zhuǎn bā， méi gé， xuán zhuǎn bā。 ā， lú zhōng xìng fú zhī huǒ nuǎn yáng yáng， xiōng huái měi hǎo de mèng xiǎng。 bái sè juàn zhì de shèng zhuāng， chuān shàng duō me piào liàng， tiào qǐ liǎo huá 'ěr cí。 qǐ wǔ bā， méi gé， qǐ wǔ bā。 xuán zhuǎn bā， méi gé， méi gé， méi gé。
Plot introduction
Alcott's original work explores the overcoming of character flaws. Many of the chapter titles in this first part are allusions to the allegorical concepts and places in Pilgrim's Progress. When young, the girls played Pilgrim's Progress by taking an imaginary journey through their home. As young women, they agree to continue the figurative journey, using the "guidebooks" — copies of the New Testament, described as "that beautiful old story of the best life ever lived"; they receive on Christmas morning. Each of the March girls must struggle to overcome a character flaw: Meg, vanity; Jo, a hot temper; Beth, shyness; and Amy, selfishness.
In the course of the novel, the girls become friends with their next-door neighbor, the teenage boy Laurie. The book depicts the light hearted, often humorous activities of the sisters and their friend, such as creating a newspaper and picnicking, and the various "scrapes" that Jo and Laurie get into. Jo consistently struggles with the boundaries 19th century society placed on females, including not being able to fight in a war, not being able to attend college, and being pressured by her Aunt March to find a suitable husband to take care of her.
Characters
Josephine "Jo" March: The protagonist of the novel, Jo is an autobiographical depiction of Louisa May Alcott herself. A tomboy, Jo is the second daughter, aged fifteen at the beginning of the story. She is outspoken and has a passion for writing. Her nature often gets her into trouble, while her heart often pushes her into acts of kindness. She is close to her younger sister, Beth, a quiet and compassionate, character who offsets Jo's more outgoing nature. At the beginning of the book, Jo is employed as a companion by her Aunt March, a job she dislikes. When Beth comes down with scarlet fever, Amy replaces Jo as Aunt March's companion. Jo cuts off her long, chestnut brown hair—"her one beauty", as Amy calls it — and sells it to a wig shop to earn travel money for her mother to visit their father, a Civil War chaplain who is dangerously ill. Jo receives a marriage proposal from her childhood friend and neighbor Laurie, but she refuses him. Later, Jo moves to New York, where she meets Professor Friedrich "Fritz" Bhaer, whom she later marries. Regarding Jo's marriage, Alcott later wrote, "Jo should have remained a literary spinster, but so many enthusiastic young ladies wrote to me clamorously demanding that she should marry Laurie, or somebody, that I didn't dare refuse and out of perversity went and made a funny match for her". In the 1994 film directed by the Australian film director Gillian Armstrong, Jo was portrayed by Winona Ryder.
Margaret "Meg" March: At sixteen, she is the oldest sister. She is considered the beauty of the March household and she is well-mannered. Meg runs the household when her mother is absent. Meg also guards Amy from Jo when the two quarrel, just as Jo protects Beth. Meg is employed as a governess for the Kings, a wealthy local family. Because of the genteel social standing of her family, Meg is allowed into society. However, after a few disappointing experiences (first, the Kings' eldest son is disinherited for bad behavior, and later she visits her friend Annie Moffat and discovers that her family believes Mrs. March is plotting to match her with Laurie only to gain his family's wealth), Meg learns that true worth does not lie with money. She falls in love with Mr. John Brooke, Laurie's tutor, whom she marries. Meg bears twin children, Margaret "Daisy" and John Laurence "Demi" (short for Demi-John). In the 1994 film, Meg was portrayed by Trini Alvarado.
Elizabeth "Beth" March: Thirteen years old when the novel opens, Beth is a quiet, kind young woman, and a pianist. She enjoys her dolls and cats. Docile and shy, she prefers to be homeschooled and avoids most public situations. At the beginning of the book, Alcott describes her as a sweet girl with a round young face and brown hair. She has a close relationship with Jo, despite their different personalities. Beth enjoys charity work, and helps her mother nurture poor families at the beginning of the novel. Later, when her mother is in Washington caring for their father, Beth comes down with scarlet fever, caught while looking after a family with sick children. Although Jo and Meg do their best to nurse her, Beth becomes so dangerously ill that they send for their mother to return home. However, before Mrs. March arrives, Beth's fever breaks. Beth recovers but she is left permanently weakened by the illness. In the second part of the book, as her sisters begin to leave the nest, Beth wonders what will become of her, as all she wants is to remain at home with her parents. When Beth contracts tuberculosis, the family nurses her. In her final illness, she overcomes her quietness when she discusses the spiritual significance of her death to Jo. Some critics have suggested that Beth's death signals Alcott's denial of the ability of the traditional, sentimental heroine to survive in an increasingly industrial world. In the 1994 film, Beth was portrayed by Claire Danes and in the 1978 television movie by Eve Plumb.
Amy Curtis March: The youngest sister—age twelve when the story begins—Amy is interested in art. She is described by the author as a 'regular snow-maiden' with curly golden hair and blue eyes, 'pale and slender' and 'always carrying herself' like a very proper young lady. She is dissatisfied with the shape of her nose which she attempts to fix with a clothespin. She is "cool, reserved and worldly" which sometimes causes her trouble. Often "petted" because she is the youngest, she can behave in a vain and spoiled way, and throws tantrums when she is unhappy. Her relationship with Jo is sometimes strained; the literary Jo particularly dislikes when Amy uses big words, mispronouncing them or using them incorrectly. Their most significant argument occurs when Jo will not allow Amy to accompany Jo and Laurie to the theater. In revenge, Amy finds Jo's unfinished novel and throws it all in the fireplace grate, burning years of work. When Jo discovers this, she boxes Amy's ears and tells her, "I'll never forgive you! Never!" Amy's attempt to apologize to Jo are unsuccessful. When Laurie and Jo go skating, Amy tags along after them, but she arrives at the lake too late to hear Laurie's warning about rotten ice. Under Jo's horrified stare, Amy falls through the ice, and is rescued by Laurie's prompt intervention. Realizing she might have lost her sister, Jo's anger dissolves and the two become more close. When Beth is ill with scarlet fever, Amy is sent to stay with Aunt March as a safety precaution. Aunt March grows fond of her, as Amy's natural grace and docility are more to her taste. Amy is invited to accompany Uncle and Aunt Carrol and cousin Flo's as a companion on a European trip. Although she enjoys travelling, after seeing the works of artists such as Michelangelo and Raphael, Amy gives up her art, because she believes herself to be lacking in talent. In Europe, Amy meets up with Laurie, and shortly after Beth dies, they marry. Later, Amy gives birth to daughter Elizabeth (Beth). Amy was portrayed by Kirsten Dunst as a young girl and Samantha Mathis as an adult.
Margaret "Marmee" March: The girls' mother and head of household while her husband is away at war. She engages in charitable works and attempts to guide her girls' morals and to shape their characters, usually through experiments. She confesses to Jo (after the argument with Amy) that her temper is as volatile as Jo's own, but that she has learned to control it. In the 1994 film, Marmee was portrayed by Susan Sarandon.
Robin "Father" March: Formerly wealthy, it is implied that he helped friends who could not repay a debt, resulting in the family's poverty. A scholar and a minister, he serves as a chaplain for the Union Army.
Hannah Mullet: The March family maid.
Aunt Josephine March: Mr. March's aunt, a rich widow. Somewhat temperamental and prone to being judgmental, she disapproves of the family's poverty, their charitable work, and their general disregard for the more superficial aspects of society's ways. Her vociferous disapproval of Meg's impending engagement to the impoverished Mr. Brooke becomes the proverbial 'last straw', convincing Meg to affiance herself with the young man.
Uncle and Aunt Carrol: Sister and brother-in-law of Mr. March.
Theodore "Laurie" Laurence: A rich young man who is a neighbor to the March family. Laurie lives with his overprotective grandfather, Mr. Laurence. Laurie's father eloped with an Italian pianist and was disowned. Both died young, and as an orphan, Laurie was sent to live with his grandfather. Laurie is preparing to enter at Harvard and is being tutored by Mr. John Brooke. He is described as attractive and charming, with black eyes, brown skin, curly black hair, and small hands and feet. In the second book, Laurie falls in love with Jo and offers to marry her. She refuses, and flees to New York City. Laurie will eventually marry Amy March.
Mr. James Laurence: A wealthy neighbor to the Marches and Laurie's grandfather. Lonely in his mansion, and often at odds with his high-spirited grandson, he finds comfort in becoming a benefactor to the Marches. He protects the March sisters while their parents are away. He was a friend to Mrs March's father, and admires their charitable works. He develops a special, tender friendship with Beth, who reminds him of his dead granddaughter, and he gives Beth his daughter's piano.
John Brooke: During his employment with the Laurences as a tutor to Laurie, he falls in love with Meg. When Laurie leaves for college, Brooks continues his employment with Mr. Laurence as an assistant. He accompanies Mrs. March to Washington D.C. when her husband is ill. When Aunt March overhears Meg rejecting John's declaration of love, she threatens Meg with disinheritance on the basis that Brooke is only interested in Meg's future prospects. Eventually Meg admits her feelings to Brooke, they defy Aunt March (who ends up accepting the marriage), and they are engaged. Brooke serves in the Union Army for a year and invalided home after being wounded. Brooke marries Meg a few years later when the war has ended and she has turned twenty.
The Hummels: A poor German family consisting of a widowed mother and seven children. Marmee and the girls help them by bringing food, firewood, blankets and other comforts. Three of the children die of scarlet fever and Beth contracts it while caring for them.
The Kings: A wealthy family who employs Meg as a governess.
The Gardiners: Wealthy friends of Meg's. The Gardiners are portrayed as goodhearted but vapid.
Mrs. Kirke: A friend of Mrs March's who runs a boarding house in New York. She employs Jo as governess to her two girls.
Professor Friedrich "Fritz" Bhaer: A poor German immigrant who was a professor in Berlin but now lives in Mrs. Kirke's boarding house and tutors her children. He and Jo become friendly and he critiques Jo's writing, encouraging her to become a serious writer instead of writing "sensation" stories for weekly tabloids. The two eventually marry, raise Fritz's two orphaned nephews, Franz and Emil, and their own sons, Robin and Teddy.
Franz and Emil: Mr. Bhaer's two nephews whom he looks after following the death of his sister.
Tina: The small daughter of Mrs. Kirke's French washerwoman: she is a favorite of Professor Bhaer's.
Miss Norton: A worldly tenant living in Mrs. Kirke's boarding house. She occasionally takes Jo under her wing and entertains her.
Autobiographical context
Although plot elements from Little Women are similar to of Louisa May Alcott experiences, some differences exist:
* Unlike Jo, Alcott did not marry. However, there has been speculation that Ralph W. Emerson was the inspiration for Friedrich's character. Alcott was employed as governess to Emerson's children's, and Emerson and Louisa May Alcott's father, Bronson Alcott, were colleagues in the movement known as American transcendentalism.
* Unlike Jo's father, who served as a chaplain in the Union Army, Alcott's father was a pacifist. It was she herself who served as a nurse for wounded soldiers.
Critical response
G. K. Chesterton noted that in Little Women, Alcott "anticipated realism by twenty or thirty years," and that Fritz's proposal to Jo, and her acceptance, "is one of the really human things in human literature."
Notable adaptations
Play
A Little Women play, adapted by Marian De Forest, opened on Broadway at the Playhouse Theatre, on October 14, 1912. The production was directed by Jessie Bonstelle and Bertram Harrison. The cast included Marie Pavey, Alice Brady, Gladys Hulette and Beverly West. It ran for 184 performances and was later revived on December 18, 1916 at the Park Theatre for 24 performances. The company was invited to produce the play in London starring Katharine Cornell. Another revival opened on December 7, 1931 at the Playhouse Theatre in a production directed by William A. Brady, Jr. with Jessie Royce Landis as Jo, Lee Patrick as Meg, Marie Curtis, and Jane Corcoran running for 17 performances.
A three-act, one set adaptation was written by John David Ravold, and is frequently performed. It was originally copyrighted in 1934.
In 1995, an adaptation entitled "Louisa's Little Women" by Beth Lynch and Scott Lynch-Giddings premiered in a production by the Wisdom Bridge Theatre Company at the Harold Washington Library Center in Chicago. The play covers the events of Part One of Alcott's novel, interspersed with scenes depicting complementary aspects of her own life, including the influence of her father Bronson Alcott and her acquaintance with Henry David Thoreau, Julia Ward Howe, and Frank Leslie.
An adaptation by Emma Reeves was performed at GSA in Guildford, Surrey, England, and made its American debut at the Whidbey Island Center for the Arts, north of Seattle, Washington.
Literature
In 2005, Geraldine Brooks published March, a novel exploring the gaps in Little Women, telling the story of Mr. March during the Civil War. It won the Pulitzer Prize for Fiction.
Film
Little Women has seen several cinematic adaptations. One of the first film adaptations was the 1918 Harley Knoles-directed version, starring Dorothy Bernard, Kate Lester and Conrad Nagel. The 1933 version starred Katharine Hepburn as Jo and Spring Byington as Marmee. The film was followed by a 1949 version featuring Elizabeth Taylor as Amy, June Allyson as Jo, Janet Leigh as Meg, Margaret O'Brien as Beth, Mary Astor as Marmee, Peter Lawford as Laurie, and C. Aubrey Smith as the elderly Mr. Lawrence. A 1978 version starred Meredith Baxter as Meg, Susan Dey as Jo, Eve Plumb as Beth, William Shatner as Friedrich Bhaer, Greer Garson as Aunt March, and Robert Young as Grandpa James Lawrence. A 1994 version starred Susan Sarandon as Marmee, Winona Ryder as Jo, Kirsten Dunst as the younger Amy, Samantha Mathis as the older Amy, Christian Bale as Laurie, Claire Danes as Beth and Trini Alvarado as Meg. Other film versions of the novel appeared in 1917, 1918, 1946, 1948, 1950, 1958, 1970, 1979, and 2001.
Opera and musical
In 1998 composer Mark Adamo adapted the story as the Little Women (opera). On January 23, 2005, a Broadway musical adaptation of Little Women (musical) opened at the Virginia Theatre in New York City with a book by Allan Knee, music by Jason Howland, and lyrics by Mindi Dickstein. The musical starred Sutton Foster as Jo, and pop singer Maureen McGovern as Marmee. The mixed-reviewed production ran through May 2005, garnering a Tony nomination for Sutton. While it had a short life in New York, it ran for 49 weeks as a national tour. A second national tour was planned for the 2007–2008 season. The musical's UK premiere was performed by "Imagine Productions" at the Lowther Pavilion in December 2006.
Anime
Little Women, a popular novel in Japan, has been adapted into at least four anime versions, and referenced in several others. The first anime adaptation of Little Women was an episode of the TV series Manga Sekai Mukashi Banashi ("Manga World's Classic Tales"), aired in October 1977. In 1980, director Yugo Serikawa (Mazinger Z) adapted the novel into a Toei Animation TV special titled Wakakusa Monogatari (The Story of Young Grass). The success of Serikawa's TV special was parlayed into Wakakusa no Yon Shimai ("Four Sisters of Young Grass"), a 26-episode TV series directed by Kazuya Miyazaki for the Kokusai Eigasha studio which aired on Fuji TV in 1981.
The most well-known anime version of the story is Ai no Wakakusa Monogatari (The Story of Love's Young Grass), a 1987 TV series that was part of Nippon Animation and Fuji TV's World Masterpiece Theater, which featured character designed and drawn by the late Yoshifumi Kondo. This series also featured several episodes of original stories from screenwriter Akira Miyazaki, developed by the author in order to acquaint the Japanese viewing audience with the characters of Little Women, as well as the historycal background of the American Civil War. Nippon Animation also adapted the sequel Little Men into a World Masterpiece Theater TV series, Wakakusa Monogatari Nan to Jou Sensei ("The Story of Young Grass: Nan and Teacher Jo"), in 1993.
The 1980 TV special and the 1981 and 1987 TV series were all released, at least in part, in the United States in English-dubbed form during the 1980s (with the Nippon Animation series broadcast by HBO in the late 1980s under the title Tales of Little Women), and both TV series were broadcast widely in Europe and Latin America as well.
References to the story
A number of other anime and manga series include references to Little Women, including Graduation M where the main characters (who are male), are forced to play the lead roles in the play "Little Women," for their school ceremony; Glass no Kamen, in which a production of Little Women where protagonist, Maya plays the role of Beth is an important story arc; and Burst Angel, in which three of the main characters are named Jo, Meg (short for Megumi), and Amy.
A nod to the characters is apparent in the English release of the Nintendo 64 game, The Legend of Zelda: Ocarina of Time. In the Forest Temple, the player must solve four puzzles hosted by ghosts by the names of Amy, Beth, Joelle and Meg to progress through the game. The ghosts appear again briefly in the game's sequel, The Legend of Zelda: Majora's Mask, but only in an optional mini game. In this game, the name "Joelle" was corrected to "Jo," since Jo's full name is Josephine and not Joelle.
A Korean artist and writer, Kim Hee Eun, created a manhwa called Dear My Girls. The manhwa had the characters Amy, Beth, Jo, and Meg. The story is based on ideas from Little Women. The manhwa is serialized in a Korean magazine, mink.
suí zhe fān yì jiè shào， lù yì suō · méi · ào 'ěr kē tè zhè wèi zài 19 shì jì xià bàn yè měi guó jiā yù hù xiǎo de nǚ zuò jiā míng zì kāi shǐ wéi zhōng guó dú zhě suǒ shú xī。 zài《 xiǎo fù rén》 nà bù dài yòu zìzhuàn sè cǎi zuò pǐn zhōng， wǒ men kàn dào 'ào 'ěr kē tè nà dú yòu de xì nì de bǐ chù suǒ huàn fā chū lái de mí rén guāng máng， jǐn jiē zhe， tā yòu xiě chū dì 'èr bù《 xiǎo nán rén》 hé dì sān bù《 qiáo de nán hái men》， cóng 'ér diàn dìng liǎo tā zài měi guó wén xué shǐ zhōng bù kě dòng yáo de dì wèi。 tā suǒ miáo xiě de tóng nián shí guāng， suī rán dài zhe shēng huó zhōng běn lái jiù huī zhī bù qù de jiān xīn hé yōu shāng， dàn shì， tā yǐ rán shì měi lì de， yī rú jì wǎng dì huàn xǐng zhe wǒ men měi yī gè rén líng hún shēn chù de jì yì。
Plot Details
Little Men follows the life of Jo Bhaer and the students who live and learn at the Plumfield Estate School that she runs with her husband, Professor Bhaer. The mischievous children, whom she loves and cares for as her own, learn valuable lessons as they become proper gentlemen and ladies. We also get cameo appearances of almost all the characters found in the previous books, almost all of them happy and well. Meg's older two children, Demi and Daisy, also attend the school and so do Mr. Bhaer's German nephews Franz and Emil.
The story begins with the arrival of Nathaniel "Nat" Blake, a shy young orphan with a talent for playing the violin and a penchant for telling fibs. Through his eyes we are introduced to the majority of the characters, from the Bhaers' children to other classmates. We follow Nat's life from April through Thanksgiving, meeting new students and playing games and having adventures throughout. Each student has his or her own struggles: Nat lies; Demi, although adored by his mother and sister, is so naïve that he finds it hard to live in the real world, but swears that he will be like 'parpar' after John Brooke (Meg's husband) dies; Emil has a bad temper; Dan is rebellious and rude; Tommy is careless (and once sets the house afire); Annie alias Nan is too tomboyish; Daisy is too prim and even weak-willed etc. They all learn to cope with their faults as they grow into young men and women.
Plot Details
Little Men follows the life of Jo Bhaer and the students who live and learn at the Plumfield Estate School that she runs with her husband, Professor Bhaer. The mischievous children, whom she loves and cares for as her own, learn valuable lessons as they become proper gentlemen and ladies. We also get cameo appearances of almost all the characters found in the previous books, almost all of them happy and well. Meg's older two children, Demi and Daisy, also attend the school and so do Mr. Bhaer's German nephews Franz and Emil.
The story begins with the arrival of Nathaniel "Nat" Blake, a shy young orphan with a talent for playing the violin and a penchant for telling fibs. Through his eyes we are introduced to the majority of the characters, from the Bhaers' children to other classmates. We follow Nat's life from April through Thanksgiving, meeting new students and playing games and having adventures throughout. Each student has his or her own struggles: Nat lies; Demi, although adored by his mother and sister, is so naïve that he finds it hard to live in the real world, but swears that he will be like 'parpar' after John Brooke (Meg's husband) dies; Emil has a bad temper; Dan is rebellious and rude; Tommy is careless (and once sets the house afire); Annie alias Nan is too tomboyish; Daisy is too prim and even weak-willed etc. They all learn to cope with their faults as they grow into young men and women.
《 xiǎo fù rén》 chū bǎn hòu， ào 'ěr kē tè yòu xiě zuò liǎo《 jiù shì nǚ hái》（ OldFashionedGirl， 1870）、《 xiǎo nán rén》（ LittleMen， 1871）、《 gōng zuò》（ Work， 1873） jí qí tā yī xiē 'ér tóng zuò pǐn， dàn qí yǐng xiǎng yuǎn bù rú qián zhě。
It was first serialised in the Merry's Museum magazine between July and August in 1869 and consisted of only six chapters. For the finished product, however, Alcott continued the story from the chapter "Six Years Afterwards" and so it ended up with nineteen chapters in all. The book turns around Polly Milton, the old-fashioned girl who titles the story. Polly visits her wealthy friend Fanny Shaw in the city and is overwhelmed by the fashionable and urban life they live––but also left out because of her "countrified" manners and outdated clothes.
The novel was the basis of a 1949 musical film starring Gloria Jean as Polly.
Plot summary
Polly Milton, a 14-year-old country girl, visits her friend Fanny Shaw and her wealthy family in the city for the first time. Poor Polly is overwhelmed by the splendor at the Shaws' and their urbanized, fashionable lifestyles, expensive clothes and other habits she has never been exposed to, and, for the most part, dislikes. Fanny's friends reject her because of her different behavior and simple clothing, and Fan herself can't help considering her unusual sometimes. However, Polly's warmth, support and kindness eventually win the hearts of all the family members, and her old-fashioned ways teach them a lesson.
Success (Roberts Bros., 1870)
Six years later, Polly comes back to the city to become a music teacher and struggles with profession issues and internal emotions. Later in the book, Polly finds out that the prosperous Shaws are on the brink of bankruptcy, and she guides them to the realization that a wholesome family life is the only thing they will ever need, not money or decoration.
With the comfort of the ever helpful Polly, the family gets to change for the better and to find a happier life for all of them. After being rejected by his fiancée, Trix, Tom procures a job out West, with Polly's brother Ned, and heads off to help his family and compensate for all the money he has wasted in frivolous expenditures. At that point of the book, we see that Polly and Tom seem to have developed strong feelings for one another.
At the end of the book, Tom returns from the West and finally gets engaged to his true love, Polly.
It was first serialised in the Merry's Museum magazine between July and August in 1869 and consisted of only six chapters. For the finished product, however, Alcott continued the story from the chapter "Six Years Afterwards" and so it ended up with nineteen chapters in all. The book turns around Polly Milton, the old-fashioned girl who titles the story. Polly visits her wealthy friend Fanny Shaw in the city and is overwhelmed by the fashionable and urban life they live––but also left out because of her "countrified" manners and outdated clothes.
The novel was the basis of a 1949 musical film starring Gloria Jean as Polly.
Plot summary
Polly Milton, a 14-year-old country girl, visits her friend Fanny Shaw and her wealthy family in the city for the first time. Poor Polly is overwhelmed by the splendor at the Shaws' and their urbanized, fashionable lifestyles, expensive clothes and other habits she has never been exposed to, and, for the most part, dislikes. Fanny's friends reject her because of her different behavior and simple clothing, and Fan herself can't help considering her unusual sometimes. However, Polly's warmth, support and kindness eventually win the hearts of all the family members, and her old-fashioned ways teach them a lesson.
Success (Roberts Bros., 1870)
Six years later, Polly comes back to the city to become a music teacher and struggles with profession issues and internal emotions. Later in the book, Polly finds out that the prosperous Shaws are on the brink of bankruptcy, and she guides them to the realization that a wholesome family life is the only thing they will ever need, not money or decoration.
With the comfort of the ever helpful Polly, the family gets to change for the better and to find a happier life for all of them. After being rejected by his fiancée, Trix, Tom procures a job out West, with Polly's brother Ned, and heads off to help his family and compensate for all the money he has wasted in frivolous expenditures. At that point of the book, we see that Polly and Tom seem to have developed strong feelings for one another.
At the end of the book, Tom returns from the West and finally gets engaged to his true love, Polly.
lù yì suō ào 'ěr kē tè（ LouisaMayAlcott， 1832－ 1888）， měi guó zuò jiā。 1832 nián 11 yuè 29 rì chū shēng zài bīn xī fǎ ní yà zhōu de jié màn zhèn（ Germantown）。 tā de fù qīn bù láng xùn ào 'ěr kē tè shì mǎ sà zhū sài zhōu kāng kē dé yī wèi zì xué chéng cái de zhé xué jiā、 xué xiào gǎi gé jiā hé wū tuō bāng zhù yì zhě。 tā yī shēng chén mí yú duì lǐ xiǎng de zhuī qiú， yǐ zhì wú lì dān fù jiā tíng shēng huó。 wéi chí shēng jì de dān zǐ xiān shì luò dào tā de qī zǐ shēn shàng， ér hòu yòu luò dào tā nà fù yòu jìn qǔ jīng shén de 'èr nǚ 'ér lù yì suō ào 'ěr kē tè shēn shàng， lù yì suō dào xué xiào jiào guò shū， dāng guò nǚ cái féng、 hù shì， zuò guò xǐ yùn huó， 15 suì shí hái chū qù zuò guò yōng rén。
lù yì suō 10 suì shí biàn yǐ rè xīn yú yè yú xì jù yǎn chū， 15 suì shí xiě chū dì yī bù qíng jié jù， 21 suì kāi shǐ fā biǎo shī gē jí xiǎo pǐn。
1868 nián， yī wèi chū bǎn shāng jiàn yì tā xiě yī bù guān yú“ nǚ hái zǐ de shū”， tā biàn gēn jù hái tí de jì yì xiě chéng《 xiǎo fù rén》。 shū zhōng bǎ zì jǐ miáo xiě chéng qiáo mǎ qí， tā de jiě mèi 'ān nà、 yà bì、 yī lì suō bái biàn fēn bié chéng wéi méi gé、 ài měi、 bèi sī。 shū zhōng de xǔ duō gù shì qǔ cái yú xiàn shí shēng huó， bù guò xiàn shí shēng huó zhōng de 'ào 'ěr kē tè yī jiā jīng jì zhuàng kuàng yuǎn bù rú tā bǐ xià de mǎ qí yī jiā。 chū yú zuò zhě yì liào de shì《 xiǎo fù rén》 dǎ dòng liǎo wú shù měi guó dú zhě， yóu qí shì nǚ xìng dú zhě de xīn xián。 zhī hòu， lù yì suō yòu xù xiě liǎo《 xiǎo nán rén》 hé《 qiáo de nán hái zǐ men》， 1873 nián yòu yǐ xiǎo shuō xíng shì chū bǎn liǎo zìzhuàn zhù zuò《 jīng yàn de gù shì》。
lù yì suō chéng míng hòu， jì xù zhuàn xiě xiǎo shuō hé gù shì， bìng tóu shēn yú fù nǚ xuǎn jǔ yùn dòng hé jìn jiǔ yùn dòng。 měi guó nèi zhàn qī jiān tā zài huá shèng dùn zuò guò jūn duì jiù hù rén yuán， hòu lái， tā hái dān rèn guò yī jiā 'ér tóng kān wù（ RobertMerry'sMuseum） de biān ji。 tā yú 1888 nián 3 yuè 6 rì zài bō shì dùn qù shì。
Among green New England hills stood an ancient house, many-gabled, mossy-roofed, and quaintly built, but picturesque and pleasant to the eye; for a brook ran babbling through the orchard that encompassed it about, a garden-plat stretched upward to the whispering birches on the slope, and patriarchal elms stood sentinel upon the lawn, as they had stood almost a century ago, when the Revoiution rolled that way and found them young.
One summer morning, when the air was full of country sounds, of mowers in the meadow, black- birds by the brook, and the low of kine upon the hill-side, the old house wore its cheeriest aspect, and a certain humble history began.
lù yì suō 10 suì shí biàn yǐ rè xīn yú yè yú xì jù yǎn chū， 15 suì shí xiě chū dì yī bù qíng jié jù， 21 suì kāi shǐ fā biǎo shī gē jí xiǎo pǐn。
1868 nián， yī wèi chū bǎn shāng jiàn yì tā xiě yī bù guān yú“ nǚ hái zǐ de shū”， tā biàn gēn jù hái tí de jì yì xiě chéng《 xiǎo fù rén》。 shū zhōng bǎ zì jǐ miáo xiě chéng qiáo mǎ qí， tā de jiě mèi 'ān nà、 yà bì、 yī lì suō bái biàn fēn bié chéng wéi méi gé、 ài měi、 bèi sī。 shū zhōng de xǔ duō gù shì qǔ cái yú xiàn shí shēng huó， bù guò xiàn shí shēng huó zhōng de 'ào 'ěr kē tè yī jiā jīng jì zhuàng kuàng yuǎn bù rú tā bǐ xià de mǎ qí yī jiā。 chū yú zuò zhě yì liào de shì《 xiǎo fù rén》 dǎ dòng liǎo wú shù měi guó dú zhě， yóu qí shì nǚ xìng dú zhě de xīn xián。 zhī hòu， lù yì suō yòu xù xiě liǎo《 xiǎo nán rén》 hé《 qiáo de nán hái zǐ men》， 1873 nián yòu yǐ xiǎo shuō xíng shì chū bǎn liǎo zìzhuàn zhù zuò《 jīng yàn de gù shì》。
lù yì suō chéng míng hòu， jì xù zhuàn xiě xiǎo shuō hé gù shì， bìng tóu shēn yú fù nǚ xuǎn jǔ yùn dòng hé jìn jiǔ yùn dòng。 měi guó nèi zhàn qī jiān tā zài huá shèng dùn zuò guò jūn duì jiù hù rén yuán， hòu lái， tā hái dān rèn guò yī jiā 'ér tóng kān wù（ RobertMerry'sMuseum） de biān ji。 tā yú 1888 nián 3 yuè 6 rì zài bō shì dùn qù shì。
Among green New England hills stood an ancient house, many-gabled, mossy-roofed, and quaintly built, but picturesque and pleasant to the eye; for a brook ran babbling through the orchard that encompassed it about, a garden-plat stretched upward to the whispering birches on the slope, and patriarchal elms stood sentinel upon the lawn, as they had stood almost a century ago, when the Revoiution rolled that way and found them young.
One summer morning, when the air was full of country sounds, of mowers in the meadow, black- birds by the brook, and the low of kine upon the hill-side, the old house wore its cheeriest aspect, and a certain humble history began.