- 相關(guān)推薦
安徒生童話故事第102篇：演木偶戲的人The Puppet-Show Man
引導(dǎo)語(yǔ)：木偶戲大家觀看過(guò)?下面是小編整理的《演木偶戲的人》的安徒生童話故事，我們一起閱讀學(xué)習(xí)看看這篇童話故事主要講了什么樣的故事。
輪船上有一個(gè)年紀(jì)相當(dāng)大的演木偶戲的人。他有一副愉快的面孔。如果他這個(gè)面孔的表情是代表實(shí)際情況的話，那么他就要算是人世間一個(gè)最幸福的人了。他說(shuō)他正是這樣的一個(gè)人，而且是我聽(tīng)他親口這樣說(shuō)的。他是我的同胞——一個(gè)丹麥人;他同時(shí)也是一個(gè)旅行劇團(tuán)的導(dǎo)演。他的整個(gè)班子裝在一個(gè)大匣子里，因?yàn)樗且粋�(gè)演木偶戲的人。他說(shuō)他有一種天生的愉快心情，而且這種心情還被一個(gè)工藝學(xué)校的學(xué)生"洗滌"過(guò)一次。這次實(shí)驗(yàn)的結(jié)果使他成為一個(gè)完全幸福的人。我起初并沒(méi)有馬上就聽(tīng)懂其中的道理，不過(guò)他把整個(gè)的經(jīng)過(guò)都解釋給我聽(tīng)。下面是全部的經(jīng)過(guò)：
“事情發(fā)生在斯拉格爾斯，"他說(shuō)。"我正在一個(gè)郵局的院子里演木偶戲。觀眾非常擁擠——除了兩個(gè)老太婆以外，全是小孩子。這時(shí)有一個(gè)學(xué)生模樣的人，穿著一身黑衣服，走了進(jìn)來(lái)。他坐下來(lái)，在適當(dāng)?shù)臅r(shí)候發(fā)笑，在適當(dāng)?shù)臅r(shí)候鼓掌。他是一個(gè)很不平常的看客!我倒很想知道，他究竟是一個(gè)什么人。我聽(tīng)說(shuō)他是工藝學(xué)校的一個(gè)學(xué)生。這次特別被派到鄉(xiāng)下來(lái)教育老百姓的。
“我的演出在8點(diǎn)鐘就結(jié)束了，因?yàn)楹⒆觽冺毜迷琰c(diǎn)上床去睡覺(jué)——我不能不考慮觀眾的習(xí)慣。在9點(diǎn)鐘的時(shí)候，這個(gè)學(xué)生開(kāi)始演講和實(shí)驗(yàn)。這時(shí)我也成為他的聽(tīng)眾之一。又聽(tīng)又看，這真是一樁痛苦的事情。像俗話所說(shuō)的，大部分的東西在我的頭上滑過(guò)而鉆進(jìn)牧師的腦袋里去了。不過(guò)我還是不免起了一點(diǎn)感想：如果我們凡人能夠想出這么多東西，我們一定是打算活得很久——比我們?cè)谌耸篱g的這點(diǎn)生命總歸要久一點(diǎn)。他所實(shí)驗(yàn)的這些東西可算是一些小小的奇跡，都做得恰到好處，非常自然。像這樣的一個(gè)工藝學(xué)校學(xué)生，在摩西和預(yù)言家的時(shí)代，一定可以成為國(guó)家的一個(gè)圣人①;但是假如在中世紀(jì)，他無(wú)疑地會(huì)被燒死②。
“我一整夜都沒(méi)有睡。第二天晚上，當(dāng)我做第二次演出的時(shí)候，這位學(xué)生又來(lái)了;這時(shí)我的心情變得非常好。我曾經(jīng)從一個(gè)演戲的人聽(tīng)到一個(gè)故事：據(jù)說(shuō)當(dāng)他演一個(gè)情人的角色的時(shí)候，他頭腦中總是想看觀眾中的一個(gè)女客。他只是為她而表演;其余的人他都忘得干干凈凈�，F(xiàn)在這位工藝學(xué)校的學(xué)生就是我的'她'，我的唯一看客，我真是為'她'而演戲。等這場(chǎng)戲演完了、所有的木偶都出來(lái)謝了幕以后，這位工藝學(xué)校的學(xué)生就請(qǐng)我到他的房里去喝一杯酒。他談起我的戲，我談起他的科學(xué)。我相信我們兩方面都感到非常滿意。不過(guò)我還得有些保留，因?yàn)樗m然實(shí)驗(yàn)了許多東西，但是卻說(shuō)不出一個(gè)道理。比如說(shuō)吧，有一片鐵一溜出螺旋形的器具就有了磁性。這是什么道理呢?鐵忽然獲得了一種精氣，但這種精氣是從什么地方來(lái)的呢?我想這和現(xiàn)實(shí)世界里的人差不多：上帝讓人在時(shí)間的螺旋器具里亂撞，于是精氣附在人身上，于是我們便有了一個(gè)拿破侖，一個(gè)路德，或者類似的人物。
“'整個(gè)的世界是一系列的奇跡，'學(xué)生說(shuō)，'不過(guò)我們已經(jīng)非常習(xí)慣于這些東西，所以我們只是把它們叫做日常事件。'
“于是他侃侃而談，作了許多解釋，直到后來(lái)我忽然覺(jué)得好像我的頭蓋骨一下子被揭開(kāi)了。老實(shí)說(shuō)，要不是現(xiàn)在我已經(jīng)老了，我馬上就要到工藝學(xué)校去學(xué)習(xí)研究這個(gè)世界的辦法，雖然我現(xiàn)在已經(jīng)是一個(gè)最幸福的人了。
“'一個(gè)最幸福的人!'他說(shuō);他似乎對(duì)我的這句話頗感興味。'你是幸福的嗎?'
“'是，'我說(shuō)，'我和我的班子無(wú)論到什么城市里去，都受到歡迎。當(dāng)然，我也有一個(gè)希望。這個(gè)希望常常像一個(gè)妖精——一個(gè)惡夢(mèng)——似的來(lái)到我心里，把我的好心境打亂。這個(gè)希望是：我希望能成為一個(gè)真正戲班子的老板，一個(gè)真正男演員和女演員的導(dǎo)演。'
“'你希望你的木偶都有生命;你希望它們都變成活生生的演員，'他說(shuō)。'你真的相信，你一旦成了他們的導(dǎo)演，你就會(huì)變得絕對(duì)幸福嗎?'
“他不相信有這個(gè)可能，但是我卻相信。我們把這個(gè)問(wèn)題從各個(gè)方面暢談了一通，談來(lái)談去總得不到一致的意見(jiàn)。雖然如此，我們?nèi)匀慌隽吮?mdash;—酒真是好極了。酒里一定有某種魔力，否則我就應(yīng)該醉了。但事實(shí)不是這樣;我的腦筋非常清楚。房間里好像有太陽(yáng)光——而這太陽(yáng)光是從這位工藝學(xué)校學(xué)生的臉上射出來(lái)的。這使我想起了古時(shí)候的一些神仙，他們永遠(yuǎn)年輕，周游世界。我把這個(gè)意思告訴他，他微笑了一下。我可以發(fā)誓，他一定是一個(gè)古代的神仙下凡，或者神仙一類的人物。他一定是這樣的一個(gè)人物：我最高的希望將會(huì)得到滿足，木偶們將會(huì)獲得生命，我將成為真正演員的導(dǎo)演。
“我們?yōu)檫@事而干杯。他把我的木偶都裝進(jìn)一個(gè)木匣子，把這匣子綁在我的背上，然后讓我鉆進(jìn)一個(gè)螺旋形的器具里去。我現(xiàn)在還可以聽(tīng)得見(jiàn)，我是怎樣滾出來(lái)、躺在地板上的。這是千真萬(wàn)確的事情;全班的戲子從匣子里跳出來(lái)。我們身上全有精氣附體了。所有的木偶現(xiàn)在都成了有名的藝術(shù)家——這是他們自己講的;而我自己則成了導(dǎo)演�，F(xiàn)在一切都齊備，可以登臺(tái)表演了。整個(gè)的班子都想和我談?wù)�。觀眾也是一樣。
“女舞蹈家說(shuō)，如果她不用一只腿立著表演，整個(gè)的劇院就會(huì)關(guān)門;她是整個(gè)班子的女主角，同時(shí)也希望大家用這個(gè)標(biāo)準(zhǔn)來(lái)對(duì)待她。表演皇后這個(gè)角色的女演員希望在下了舞臺(tái)以后大家仍然把她當(dāng)做皇后看待，否則她的藝術(shù)就要生疏了。那位專門充當(dāng)送信人的演員，也好像一個(gè)初次戀愛(ài)的人一樣，做出一副不可一世的樣子，因?yàn)樗f(shuō)，從藝術(shù)的完整性講，小人物跟大人物是同樣重要。男主角要求只演退場(chǎng)的那些場(chǎng)面，因?yàn)檫@些場(chǎng)面會(huì)叫觀眾鼓掌。女主角只愿意在紅色燈光下表演，因?yàn)橹挥羞@種燈光才對(duì)她合適——她不愿意在藍(lán)色的燈光下表演。
“他們簡(jiǎn)直像關(guān)在瓶子里的一堆蒼蠅，而我卻不得不跟他們一起擠在這個(gè)瓶子里，因?yàn)槲沂撬麄兊膶?dǎo)演。我的呼吸停止了，我的頭腦暈了，世上再?zèng)]有什么人像我這樣可憐。我現(xiàn)在是生活在一群新的人種中間。我希望能把他們?cè)傺b進(jìn)匣子里，我希望我從來(lái)沒(méi)有當(dāng)過(guò)他們的導(dǎo)演。我老老實(shí)實(shí)地告訴他們說(shuō)，他們不過(guò)是木偶而已。于是他們就把我打得要死。
“我躺在我自己房間里的床上。我是怎樣離開(kāi)那個(gè)工藝學(xué)校學(xué)生的，大概他知道;我自己是不知道的。月光照在地板上;木匣子躺在照著的地方，已經(jīng)翻轉(zhuǎn)來(lái)了;大大小小的木偶躺在它的附近，滾做一團(tuán)。但是我再也不能耽誤時(shí)間了。我馬上從床上跳下來(lái)。把它們統(tǒng)統(tǒng)撈進(jìn)去，有的頭朝下，有的用腿子站著。我趕快把蓋子蓋上，在匣子上坐下來(lái)。這副樣兒是值得畫(huà)下來(lái)的。你能想象出這副樣兒?jiǎn)?我是能的。
“'現(xiàn)在要請(qǐng)你們待在里面了，'我說(shuō)，'我再也不能讓你們變得有血有肉了!”
“我感到全身輕松了一截，心情又好起來(lái)。我是一個(gè)最幸福的人了。這個(gè)工藝學(xué)校學(xué)生算是把我的頭腦洗滌一番了。我幸福地坐著，當(dāng)場(chǎng)就在匣子上睡去了。第二天早晨——事實(shí)上是中午，因?yàn)檫@天早晨我意外地睡得久——我仍然坐在匣子上，非�？鞓�(lè)，同時(shí)也體會(huì)到我以前的那種希望真是太傻。我去打聽(tīng)那個(gè)工藝學(xué)校的學(xué)生，但是他已經(jīng)像希臘和羅馬的神仙一樣不見(jiàn)了。從那時(shí)起，我一直是一個(gè)最幸福的人。
“我是一個(gè)幸福的導(dǎo)演，我的演員也不再發(fā)牢騷了，我的觀眾也很滿意——因?yàn)樗麄儽M情地欣賞我的演出。我可以隨便安排我的節(jié)目。我可以隨便把劇本中的最好的部分選出來(lái)演，誰(shuí)也不會(huì)因此對(duì)我生氣。那些30年前許多人搶著要看，而且看得流出眼淚的劇本，我現(xiàn)在都演出來(lái)了，雖然現(xiàn)在的一些大戲院都瞧不起它們。我把它們演給小孩子們看，小孩子們流起眼淚來(lái)，跟爸爸和媽媽沒(méi)有什么兩樣。我演出《約翰妮·蒙特法康》和《杜威克》，不過(guò)這都是節(jié)本，因?yàn)樾『⒆硬辉敢饪赐系锰L(zhǎng)的戀愛(ài)故事。他們喜歡簡(jiǎn)短和感傷的東西。
“我在丹麥各地都旅行過(guò)。我認(rèn)識(shí)所有的人，所有的人也認(rèn)識(shí)我�，F(xiàn)在我要到瑞典去了。如果我在那里的運(yùn)氣好，能夠賺很多的錢，我就做一個(gè)真正的北歐人——否則我就不做了。因?yàn)槟闶俏业耐l(xiāng)，所以我才把這話告訴你。”
而我呢，作為他的同胞，自然要把這話?cǎi)R上傳達(dá)出來(lái)——完全沒(méi)有其他的意思。
�、倌ξ骱皖A(yù)言家都是基督教《圣經(jīng)·舊約》里的人物，生活在大約紀(jì)元前1200年間。在這時(shí)代希伯來(lái)人因?yàn)檫w居不定，須得經(jīng)常想出許多辦法來(lái)解決生活上的問(wèn)題。因此有新思想的人都受到尊崇。
②在歐洲中世紀(jì)教會(huì)統(tǒng)治之下，凡是有新奇思想的人都被視為異端，當(dāng)做魔鬼的使者燒死。
演木偶戲的人英文版：
The Puppet-Show Man
ON board a steamer I once met an elderly man, with such a merry face that, if it was really an index of his mind, he must have been the happiest fellow in creation; and indeed he considered himself so, for I heard it from his own mouth. He was a Dane, the owner of a travelling theatre. He had all his company with him in a large box, for he was the proprietor of a puppet-show. His inborn cheerfulness, he said, had been tested by a member of the Polytechnic Institution, and the experiment had made him completely happy. I did not at first understand all this, but afterwards he explained the whole story to me; and here it is:—
“I was giving a representation,” he said, “in the hall of the posting-house in the little town of Slagelse; there was a splendid audience, entirely juvenile excepting two respectable matrons. All at once, a person in black, of student-like appearance, entered the room, and sat down; he laughed aloud at the telling points, and applauded quite at the proper time. This was a very unusual spectator for me, and I felt anxious to know who he was. I heard that he was a member of the Polytechnic Institution in Copenhagen, who had been sent out to lecture to the people in the provinces. Punctually at eight o’clock my performance closed, for children must go early to bed, and a manager must also consult the convenience of the public.
“At nine o’clock the lecturer commenced his lecture and his experiments, and then I formed a part of his audience. It was wonderful both to hear and to see. The greater part of it was beyond my comprehension, but it led me to think that if we men can acquire so much, we must surely be intended to last longer than the little span which extends only to the time when we are hidden away under the earth. His experiments were quite miracles on a small scale, and yet the explanations flowed as naturally as water from his lips. At the time of Moses and the prophets, such a man would have been placed among the sages of the land; in the middle ages they would have burnt him at the stake.
“All night long I could not sleep; and the next evening when I gave another performance and the lecturer was present, I was in one of my best moods.
“I once heard of an actor, who, when he had to act the part of a lover, always thought of one particular lady in the audience; he only played for her, and forgot all the rest of the house, and now the Polytechnic lecturer was my she, my only auditor, for whom alone I played.
“When the performance was over, and the puppets removed behind the curtain, the Polytechnic lecturer invited me into his room to take a glass of wine. He talked of my comedies, and I of his science, and I believe we were both equally pleased. But I had the best of it, for there was much in what he did that he could not always explain to me. For instance, why a piece of iron which is rubbed on a cylinder, should become magnetic. How does this happen? The magnetic sparks come to it,—but how? It is the same with people in the world; they are rubbed about on this spherical globe till the electric spark comes upon them, and then we have a Napoleon, or a Luther, or some one of the kind.
“‘The whole world is but a series of miracles,’ said the lecturer, ‘but we are so accustomed to them that we call them everyday matters.’ And he went on explaining things to me till my skull seemed lifted from my brain, and I declared that were I not such an old fellow, I would at once become a member of the Polytechnic Institution, that I might learn to look at the bright side of everything, although I was one of the happiest of men.
“‘One of the happiest!’ said the lecturer, as if the idea pleased him; ‘are you really happy?’
“‘Yes,’ I replied; ‘for I am welcomed in every town, when I arrive with my company; but I certainly have one wish which sometimes weighs upon my cheerful temper like a mountain of lead. I should like to become the manager of a real theatre, and the director of a real troupe of men and women.’
“‘I understand,’ he said; ‘you would like to have life breathed into your puppets, so that they might be living actors, and you their director. And would you then be quite happy?’
“I said I believed so. But he did not; and we talked it over in all manner of ways, yet could not agree on the subject. However, the wine was excellent, and we clanked our glasses together as we drank. There must have been magic in it, or I should most certainly become tipsy; but that did not happen, for my mind seemed quite clear; and, indeed, a kind of sunshine filled the room, and beamed from the eyes of the Polytechnic lecturer. It made me think of the old stories when the gods, in their immortal youth, wandered upon this earth, and paid visits to mankind. I said so to him, and he smiled; and I could have sworn that he was one of these ancient deities in disguise, or, at all events, that he belonged to the race of the gods. The result seemed to prove I was right in my suspicions; for it was arranged that my highest wish should be granted, that my puppets were to be gifted with life, and that I was to be the manager of a real company. We drank to my success, and clanked our glasses. Then he packed all my dolls into the box, and fastened it on my back, and I felt as if I were spinning round in a circle, and presently found myself lying on the floor. I remember that quite well. And then the whole company sprang from the box. The spirit had come upon us all; the puppets had become distinguished actors—at least, so they said themselves—and I was their director.
“When all was ready for the first representation, the whole company requested permission to speak to me before appearing in public. The dancing lady said the house could not be supported unless she stood on one leg; for she was a great genius, and begged to be treated as such. The lady who acted the part of the queen expected to be treated as a queen off the stage, as well as on it, or else she said she should get out of practice. The man whose duty it was to deliver a letter gave himself as many airs as he who took the part of first lover in the piece; he declared that the inferior parts were as important as the great ones, and deserving equal consideration, as parts of an artistic whole. The hero of the piece would only play in a part containing points likely to bring down the applause of the house. The ‘prima donna’ would only act when the lights were red, for she declared that a blue light did not suit her complexion. It was like a company of flies in a bottle, and I was in the bottle with them; for I was their director. My breath was taken away, my head whirled, and I was as miserable as a man could be. It was quite a novel, strange set of beings among whom I now found myself. I only wished I had them all in my box again, and that I had never been their director. So I told them roundly that, after all, they were nothing but puppets; and then they killed me. After a while I found myself lying on my bed in my room; but how I got there, or how I got away at all from the Polytechnic professor, he may perhaps know, I don’t. The moon shone upon the floor, the box lay open, and the dolls were all scattered about in great confusion; but I was not idle. I jumped off the bed, and into the box they all had to go, some on their heads, some on their feet. Then I shut down the lid, and seated myself upon the box. ‘Now you’ll have to stay,’ said I, ‘and I shall be cautious how I wish you flesh and blood again.’
“I felt quite light, my cheerfulness had returned, and I was the happiest of mortals. The Polytechnic professor had fully cured me. I was as happy as a king, and went to sleep on the box. Next morning— correctly speaking, it was noon, for I slept remarkably late that day— I found myself still sitting there, in happy consciousness that my former wish had been a foolish one. I inquired for the Polytechnic professor; but he had disappeared like the Greek and Roman gods; from that time I have been the happiest man in the world. I am a happy director; for none of my company ever grumble, nor the public either, for I always make them merry. I can arrange my pieces just as I please. I choose out of every comedy what I like best, and no one is offended. Plays that are neglected now-a-days by the great public were ran after thirty years ago, and listened to till the tears ran down the cheeks of the audience. These are the pieces I bring forward. I place them before the little ones, who cry over them as papa and mamma used to cry thirty years ago. But I make them shorter, for the youngsters don’t like long speeches; and if they have anything mournful, they like it to be over quickly.”
【安徒生童話故事第：演木偶戲的人The Puppet-Show Man】相關(guān)文章：
安徒生童話《演木偶戲的人》03-26
安徒生童話故事第108篇：雪人The Snow Man11-22
格林童話故事第86篇：窮人和富人The poor man and the rich man04-07
安徒生童話故事第93篇：04-06
安徒生童話《演木偶戲的人》原文讀后感03-15
格林童話故事第160篇：壯士漢斯heroic man Hans04-08
安徒生童話故事第18篇：永恒的友情04-05