姑娘的童话故事_安徒生童话姑妈

  你应该认知姑妈!她这厮才可爱呢!那也等于,她的可爱并不像大家平昔所说的那种宜人。她温柔,有温馨的风华正茂种搞笑味儿。借使壹人想聊聊闲天、开开何人的笑话,那么她就能够成为谈笑的材质。她得以产生戏里的角色;那是因为她只是为剧场和与戏院有关的整套而活着的案由。她是贰个不行有地方的人。但是商户法布——姑妈把他念作佛拉布——却说她是三个“戏迷”。
  “戏院正是自己的高校,”她说,“是本人的知识的来源。小编在那刻重新温习《圣经》的野史:Moses啦,约瑟和她的男子儿们啦,都成了舞剧!小编在戏院里学到世界史、地理和关于人类的知识!小编从法国戏中透亮了法国巴黎的活着——很半间半界,然而那几个有趣!我为《李格堡家中》那出戏流了不知道一共有多少眼泪:动脑看,一个女婿为了使他的相恋的人收获他的后生的敌人,居然吃酒喝得醉死了!是的,这50年来笔者成了剧场的二个老主顾;在那时期,笔者不知流了某些眼泪!”
  姑妈知道每出戏、每一场剧情、每八个要上台或早就出过场的人选。她只是为那演戏的九个月而活着。夏季是还未有戏上演的——这段时日使他变得片甲不归。晚上的戏假使能演到深夜现在,那就分外是把他的性命延长。她不像旁人那样说:“春季来了,鹳鸟来了!”只怕:“报上表明晶草莓已经上市了!”相反,关于素秋的到来,她总喜欢说:“你从未观望戏院开始卖票了呢?戏快要演出了啊!”
  在她看来,风流倜傥幢屋家是还是不是有价值,完全要看它离戏院的远近而定。当她只得从戏院后面的二个小巷子迁到一条超远一些的大街上,住进大器晚成幢对面没有街坊的房舍里去的时候,她就是难熬极了。
  “小编的窗户就活该是本人的包厢!你不可能老是在家里坐着想协和的专门的学问啊。你应当看看人。可是笔者后日的活着就相似本人是住在遥远的墟落似的。即使本身要想看看人,小编就得走进厨房,爬到洗碗槽上去。只有如此小编能力见到对面包车型大巴邻居。当自个儿还住在自家丰盛小巷子里的时候,笔者得以直接望见这么些卖麻商人的店里的光景,何况只需走八百步路就足以到剧院。今后自身可得走七千大步了。”
  姑妈有时也病倒。不过无论他什么样不舒性格很顽强在荆棘满途或巨大压力面前不屈,她毫不会不看戏的。她的卫生工小编开了四个单子,叫她早上在脚上敷些药。她遵照医务人士的话办了,可是他却喊车子到剧场去,带着她脚上敷的药坐在当下看戏。假诺他坐在这里儿死去了,那对她说来倒是很幸福的呢。多瓦尔生①就是在剧场里死去的——她把那称之为“幸福之死”。
  ①多瓦尔生(BertelThorvaldsen,1768—1844卡塔尔国是丹麦王国名雕刻家。
  天国里若无戏院,对她说来是不足想像的。大家本来是不会走进天国的。可是我们能够想象获得,过去死去了的名男歌星和女艺员,一定照旧在此边世袭他们的工作的。
  姑妈在她的房内安了一条私人电线,直通到戏院。她在天天吃咖啡的时候就选用三个“电报”。她的电缆正是舞台装置部的西凡尔生先生。凡是布景或吊销布景,幕启或幕落,皆以因这个人来发号出令的。
  她从她这里打听到每出戏的简约扼要的始末。她把Shakespeare的《风暴雨》叫做“讨厌的文章,因为它的布景太复杂,并且头一场风姿浪漫开头就有水!”她的乐趣是说,汹涌的巨浪那些布景在戏台上太优越了。相反,借使相像贰个房内布景在五幕中都不调换一下,那么他将在以为这一个剧本写得很聪慧和完全,是风流倜傥出安静的戏,因为它没有必要如何布景就能够活动地演起来。
  在清代——相当于姑娘所谓的30多年从前——她和刚刚所说的西凡尔生先生还很年轻。他那个时候已经在装置部里工作,而且正如她所说的,已经是他的一个“恩人”。在相当时候,城里独有二个无比的大戏院。在演晚场时,许多主顾总是坐在台顶上的布景间里。每三个后台的木工都足以轻松管理意气风发三个坐席。那些座位日常坐满了外人,何况都以政要:听说不是主力的爱人,正是市府参议员的老婆。从骨子里看戏,何况当幕落现在,知道歌手怎么着站着和哪些动作——那都以十一分风趣的。
  姑妈有少数十次在这里种位子上看正剧和芭蕾,因为供给巨额歌手进场的戏唯有从台顶上的布景间里才看得最有味。
  你在万马齐喑中坐着,况兼那个时候大非常多的人都随身带有晚饭。有一回多个苹果和一片夹着香肠的黄油面包掉到拘禁所里去了,而狱中的乌果里诺①却在此时就要饿死。这引起粉丝哄堂大笑。后来戏院的老总不许人坐在台顶的布景间里看戏,首要正是为着香肠的由来。
  ①乌果里诺(Ugolino卡塔 尔(阿拉伯语:قطر‎是意国13世纪的革命家。他年长被人贩卖,饿死在狱中。这里所谈的是有关他坐监牢的风姿洒脱出戏。
  “可是本身到这方面去过37次,”姑妈说。“西凡尔生先生,小编永世也忘不了这事。”
  当布景间最终二次为观者开放的时候,《Solomon的审理》那出戏正在表演。姑妈记得一清二楚。她经过她的恩人西凡尔生先生为厂家法布弄到了一张上场券,固然他不配获得一张,因为她老是跟戏院开玩笑,而且也常由此讽刺她。不过她终于为她弄到了一个座席。他要“倒看”舞台上的演出。姑妈说:那几个词儿是她亲口说出来的——真能代表他的特性。
  因而她就从上边“倒看”《所罗门的审判》了,同一时候也就睡着了。你很可能感觉她开始的一段时期赴过晚会,干了累累杯酒。他睡过去了,况且因而被锁在其间。他在剧院里的这一觉,睡过了总体黑夜。睡醒未来,他把一切经过都讲了出去,不过姑妈却不信赖她的话。经纪人说:“《Solomon的审判》演完了,全部的灯和亮都灭了,楼上和楼下的人都走光了;然则的确的戏——所谓‘余兴’——还只是是刚刚起初呢。”经纪人说,“那才是最佳的戏啊!器材都活起来了。它们不是在演《所罗门的审判》;不是的,它们是在演《戏院的审判日》。”这生机勃勃套话,经纪人法布居然敢于叫姑妈相信!这就是他为她弄到一张台顶票所得到的感恩怀德!
  经纪人所讲的话,听上去确实很好笑,但是骨子里却是饱含着恶意和奚落。
  “这上边真是黑灯下火,”经纪人说,“然而唯有在这里种地方下,伟大的妖法演出《戏院的审判日》技能初始。收票人站在门口。每种看戏的人都要交出品行注解书,看她要不要戴起初铐,或是要不要戴着口络走进去。在戏开演后迟到的上流社会中人,或许故目的在于外围浪费时间的青年,都被拴在外侧。除了戴上口络以外,他们的脚还得套上毡底鞋,待到下生机勃勃幕开演时技艺走进去。那样,《戏院的审判日》就之前了。”
  “那几乎是大家上天平素不曾听过的放屁!”姑妈说。
  布景书法家如若想天神,他就得爬着她协和画的阶梯,不过这么的梯子是任何人也爬不上的。那足以说是犯了违背透视准绳的错误。舞台木工如若想天神,他就得把她费了广大力气放错了地点的那几个房屋和大树搬回去正确的地点来,并且必需在鸡叫早先就搬好。法布先生倘诺想老天爷,也得注意。至于她所形容的那么些喜剧和正剧中的艺人,歌唱和跳舞的明星,他们简直倒霉得很。法布先生!佛拉布先生!他真不配坐在台顶上。姑妈恒久不甘于把她的话传达给任哪个人听。可是佛拉布那东西,居然说她已经把那个话都写下来了,而且还要印出来——可是那要在她死了现在,不在他死去早前,因为他骇人听闻家活剥他的皮。
  姑妈只有三回在她的甜蜜的神庙——戏院——里认为心里依旧惊惶和抑郁。那是在冬日——这种一天只有多少个钟头的淡薄的阳光的光阴里。此时天气又冷又下雪,可是姑妈必须要到剧院里去。除了八个Mini相声剧和一个重型芭蕾舞、风姿洒脱段开场白和风度翩翩段竣事白以外,主戏是《赫尔曼·冯·翁那》,那出戏平素能够演到上午。姑妈非去不可。她的房客借给她一双里外都有毛的滑雪靴。她连小腿都伸进靴子里去了。
  她走进剧场,在包厢里坐下来。靴子是很暖和的,由此他绝非脱下来。蓦然间,有二个喊“起火”的音响叫起来了。
  烟从舞台边厢和顶楼上冒出来了,这个时候马上起了风姿浪漫阵骇人听大人说的动乱。大家都在向外乱跑。姑妈坐在离门最远的一个包厢里。
  “布景从第二层楼的侧边看最佳,”她这一来讲过,“因为它是专为皇家包厢里的人的饱览而规划的。”姑妈想走出来,不过她前边的人已经在恐惧中不声不气地把门关上了。姑妈坐在此边,既不能够出,也不能进——那也等于说,进不到相邻的二个包厢里去,因为隔板太高了。
  她大喊起来,哪个人也听不见。她朝下边包车型大巴生机勃勃层楼望。那儿已经空了。那层楼十分的低,并且隔她不远。姑妈在恐怖中赫然认为自个儿变得年轻和活跃起来。她想跳下去。她一只腿跨过了栏杆,另三头腿还抵在座位上。她就是这么像骑马似地坐着,穿着美好的衣着和花裙子,一条长腿悬在外头——一条穿着庞大的滑雪靴的腿。那副样儿才值得大器晚成看呢!她真的被人瞧见了,因而她的求救声也被人听到了。她被人从火中国救亡剧团出来了,因为戏院到底照旧还未有被烧掉。
  她说那是他生平中最值得回忆的风华正茂晚。她很欢欣她及时未有章程看到本身的全貌,不然他简直要羞死了。
  她的恩人——舞台装置部的西凡尔生先生——平常在星期六来看他。可是从这么些星期日到下个周末是十分长的黄金时代段时间。由此那二日一些年华里,在各样星期四内外,她就找一个小女孩来吃“剩饭”——那正是说,把每一天午用完餐之后剩下的事物给那妮子当晚餐吃。
  这些黄毛丫头是一个芭蕾音乐剧院里的黄金时代员;她确实须求东西吃。她每日在戏台上作为三个小魔鬼现身。她最难演的叁个剧中人物是当《魔笛》①中那只克鲁格狮的后腿。可是她慢慢长大了,能够演非洲狮的前腿。演那些剧中人物,她只能获得三毛钱;而演后腿的时候,她却能收获一元钱——在此种景色下,她得弯下腰,并且呼吸不到新鲜空气。姑妈认为能掌握到这种黑幕也是挺风趣的作业。
  ①那是奥地利共和国(Republik Österreich卡塔尔国音乐家莫扎特(Mozart,1756—1791卡塔 尔(阿拉伯语:قطر‎的叁个音乐剧。
  她确实值得有跟戏院同样持久的寿命,可是他却活不了那么久。她也从不在剧场里死去,她是在他本身的床的上面安静地、严穆地一命呜呼的。她临终的一句话是那个有含义的。她问:“明天有哪些戏演出?”
  她死后大要留下了500块钱。那件事大家是从她所获得的利息估计出来的——20元。姑妈把那笔钱用作遗产留给一个人没有家的、正派的老小姐。那笔钱是专为一年一度买一张二层楼上左侧位子的票而用的,並且是星期日的一张票,因为最棒的戏都以在此天上演的;同有的时候间她每周末在戏院的时候必需默念一下躺在坟墓里的姑母。
  那正是四姨的宗派。   (1866年卡塔尔国  那篇小品首先公布在1866年汉堡出版的《新的童话和杂谈》第二卷第四有些。安徒生在她的手写中说:“‘姑妈’这厮物是自家从某个个人中认知的。那么些人今后都在坟墓中睡觉。”“姑妈”这种人物不止在“多数少人中”存在,并且在无数的人中存在,在清朝和现代人中,在资本主义和社会主义制度中都留存,但是表现格局各异而已。这种人活着有必然的保持,还恐怕有一些文化,恐怕照旧某种“才子”,能发布一点对国家大事和文艺的见解,在“姑妈”这么些时代是“戏迷”——那照旧有一点点文化的变现,但在现世则是“麻将迷”或“吃喝迷”——毫无文化。

英文版:Our Aunt

YOU ought to have known our aunt; she was charming! That is to say, she
was not charming at all as the word is usually understood; but she was
good and kind, amusing in her way, and was just as any one ought to be
whom people are to talk about and to laugh at. She might have been put
into a play, and wholly and solely on account of the fact that she only
lived for the theatre and for what was done there. She was an honorable
matron; but Agent Fabs, whom she used to call “Flabs,” declared that our
aunt was stage-struck.

“The theatre is my school,” said she, “the source of my knowledge. From
thence I have resuscitated Biblical history. Now, ‘Moses’ and ‘Joseph in
Egypt’—there are operas for you! I get my universal history from the
theatre, my geography, and my knowledge of men. Out of the French pieces
I get to know life in Paris—slippery, but exceedingly interesting. How I
have cried over ‘La Famille Roquebourg’—that the man must drink himself
to death, so that she may marry the young fellow! Yes, how many tears I
have wept in the fifty years I have subscribed to the theatre!”

Our aunt knew every acting play, every bit of scenery, every character,
every one who appeared or had appeared. She seemed really only to live
during the nine months the theatre was open. Summertime without a summer
theatre seemed to be only a time that made her old; while, on the other
hand, a theatrical evening that lasted till midnight was a lengthening
of her life. She did not say, as other people do, “Now we shall have
spring, the stork is here,” or, “They’ve advertised the first
strawberries in the papers.” She, on the contrary, used to announce the
coming of autumn, with “Have you heard they’re selling boxes for the
theatre? now the performances will begin.”

She used to value a lodging entirely according to its proximity to the
theatre. It was a real sorrow to her when she had to leave the little
lane behind the playhouse, and move into the great street that lay a
little farther off, and live there in a house where she had no opposite
neighbors.

“At home,” said she, “my windows must be my opera-box. One cannot sit
and look into one’s self till one’s tired; one must see people. But now
I live just as if I’d go into the country. If I want to see human
beings, I must go into my kitchen, and sit down on the sink, for there
only I have opposite neighbors. No; when I lived in my dear little lane,
I could look straight down into the ironmonger’s shop, and had only
three hundred paces to the theatre; and now I’ve three thousand paces to
go, military measurement.”

Our aunt was sometimes ill, but however unwell she might feel, she never
missed the play. The doctor prescribed one day that she should put her
feet in a bran bath, and she followed his advice; but she drove to the
theatre all the same, and sat with her feet in bran there. If she had
died there, she would have been very glad. Thorwaldsen died in the
theatre, and she called that a happy death.

She could not imagine but that in heaven there must be a theatre too. It
had not, indeed, been promised us, but we might very well imagine it.
The many distinguished actors and actresses who had passed away must
surely have a field for their talent.

Our aunt had an electric wire from the theatre to her room. A telegram
used to be dispatched to her at coffee-time, and it used to consist of
the words, “Herr Sivertsen is at the machinery;” for it was he who gave
the signal for drawing the curtain up and down and for changing the
scenes.

From him she used to receive a short and concise description of every
piece. His opinion of Shakspeare’s “Tempest,” was, “Mad nonsense!
There’s so much to put up, and the first scene begins with ‘Water to the
front of the wings.’” That is to say, the water had to come forward so
far. But when, on the other hand, the same interior scene remained
through five acts, he used to pronounce it a sensible, well-written
play, a resting play, which performed itself, without putting up scenes.

In earlier times, by which name our aunt used to designate thirty years
ago, she and the before-mentioned Herr Sivertsen had been younger. At
that time he had already been connected with the machinery, and was, as
she said, her benefactor. It used to be the custom in those days that in
the evening performances in the only theatre the town possessed,
spectators were admitted to the part called the “flies,” over the stage,
and every machinist had one or two places to give away. Often the flies
were quite full of good company; it was said that generals’ wives and
privy councillors’ wives had been up there. It was quite interesting to
look down behind the scenes, and to see how the people walked to and fro
on the stage when the curtain was down.

Our aunt had been there several times, as well when there was a tragedy
as when there was a ballet; for the pieces in which there were the
greatest number of characters on the stage were the most interesting to
see from the flies. One sat pretty much in the dark up there, and most
people took their supper up with them. Once three apples and a great
piece of bread and butter and sausage fell down right into the dungeon
of Ugolino, where that unhappy man was to be starved to death; and there
was great laughter among the audience. The sausage was one of the
weightiest reasons why the worthy management refused in future to have
any spectators up in the flies.

“But I was there seven-and-thirty times,” said our aunt, “and I shall
always remember Mr. Sivertsen for that.”

On the very last evening when the flies were still open to the public,
the “Judgment of Solomon” was performed, as our aunt remembered very
well. She had, through the influence of her benefactor, Herr Sivertsen,
procured a free admission for the Agent Fabs, although he did not
deserve it in the least, for he was always cutting his jokes about the
theatre and teasing our aunt; but she had procured him a free admission
to the flies, for all that. He wanted to look at this player-stuff from
the other side.

“Those were his own words, and they were just like him,” said our aunt.

He looked down from above on the ‘Judgment of Solomon,’ and fell asleep
over it. One would have thought that he had come from a dinner where
many toasts had been given. He went to sleep, and was locked in. And
there he sat through the dark night in the flies, and when he woke, he
told a story, but our aunt would not believe it.

“The ‘Judgment of Solomon’ was over,” he said, “and all the people had
gone away, up stairs and down stairs; but now the real play began, the
after-piece, which was the best of all,” said the agent. “Then life came
into the affair. It was not the ‘Judgment of Solomon’ that was
performed; no, a real court of judgment was held upon the stage.” And
Agent Fabs had the impudence to try and make our aunt believe all this.
That was the thanks she got for having got him a place in the flies.

What did the agent say? Why, it was curious enough to hear, but there
was malice and satire in it.

“It looked dark enough up there,” said the agent; “but then the magic
business began—a great performance, ‘The Judgment in the Theatre.’ The
box-keepers were at their posts, and every spectator had to show his
ghostly pass-book, that it might be decided if he was to be admitted
with hands loose or bound, and with or without a muzzle. Grand people
who came too late, when the performance had begun, and young people, who
could not always watch the time, were tied up outside, and had list
slippers put on their feet, with which they were allowed to go in before
the beginning of the next act, and they had muzzles too. And then the
‘Judgment on the Stage’ began.”

永利402com官网,“All malice, and not a bit of truth in it,” said our aunt.

The painter, who wanted to get to Paradise, had to go up a staircase
which he had himself painted, but which no man could mount. That was to
expiate his sins against perspective. All the plants and buildings,
which the property-man had placed, with infinite pains, in countries to
which they did not belong, the poor fellow was obliged to put in their
right places before cockcrow, if he wanted to get into Paradise. Let
Herr Fabs see how he would get in himself; but what he said of the
performers, tragedians and comedians, singers and dancers, that was the
most rascally of all. Mr. Fabs, indeed!—Flabs! He did not deserve to be
admitted at all, and our aunt would not soil her lips with what he said.
And he said, did Flabs, that the whole was written down, and it should
be printed when he was dead and buried, but not before, for he would not
risk having his arms and legs broken.

Once our aunt had been in fear and trembling in her temple of happiness,
the theatre. It was on a winter day, one of those days in which one has
a couple of hours of daylight, with a gray sky. It was terribly cold and
snowy, but aunt must go to the theatre. A little opera and a great
ballet were performed, and a prologue and an epilogue into the bargain;
and that would last till late at night. Our aunt must needs go; so she
borrowed a pair of fur boots of her lodger—boots with fur inside and
out, and which reached far up her legs.

She got to the theatre, and to her box; the boots were warm, and she
kept them on. Suddenly there was a cry of “Fire!” Smoke was coming from
one of the side scenes, and streamed down from the flies, and there was
a terrible panic. The people came rushing out, and our aunt was the last
in the box, “on the second tier, left-hand side, for from there the
scenery looks best,” she used to say. “The scenes are always arranged
that they look best from the King’s side.” Aunt wanted to come out, but
the people before her, in their fright and heedlessness, slammed the
door of the box; and there sat our aunt, and couldn’t get out, and
couldn’t get in; that is to say, she couldn’t get into the next box, for
the partition was too high for her. She called out, and no one heard
her; she looked down into the tier of boxes below her, and it was empty,
and low, and looked quite near, and aunt in her terror felt quite young
and light. She thought of jumping down, and had got one leg over the
partition, the other resting on the bench. There she sat astride, as if
on horseback, well wrapped up in her flowered cloak with one leg hanging
out—a leg in a tremendous fur boot. That was a sight to behold; and when
it was beheld, our aunt was heard too, and was saved from burning, for
the theatre was not burned down.

That was the most memorable evening of her life, and she was glad that
she could not see herself, for she would have died with confusion.

Her benefactor in the machinery department, Herr Sivertsen, visited her
every Sunday, but it was a long time from Sunday to Sunday. In the
latter time, therefore, she used to have in a little child “for the
scraps;” that is to say, to eat up the remains of the dinner. It was a
child employed in the ballet, one that certainly wanted feeding. The
little one used to appear, sometimes as an elf, sometimes as a page; the
most difficult part she had to play was the lion’s hind leg in the
“Magic Flute;” but as she grew larger she could represent the fore-feet
of the lion. She certainly only got half a guilder for that, whereas the
hind legs were paid for with a whole guilder; but then she had to walk
bent, and to do without fresh air. “That was all very interesting to
hear,” said our aunt.

She deserved to live as long as the theatre stood, but she could not
last so long; and she did not die in the theatre, but respectably in her
bed. Her last words were, moreover, not without meaning. She asked,

“What will the play be to-morrow?”

At her death she left about five hundred dollars. We presume this from
the interest, which came to twenty dollars. This our aunt had destined
as a legacy for a worthy old spinster who had no friends; it was to be
devoted to a yearly subscription for a place in the second tier, on the
left side, for the Saturday evening, “for on that evening two pieces
were always given,” it said in the will; and the only condition laid
upon the person who enjoyed the legacy was, that she should think, every
Saturday evening, of our aunt, who was lying in her grave.

This was our aunt’s religion.

文章来源:安徒生童话

姑娘的逸事简要介绍

大姑是一个人有身份地位的人,她是壹位“戏迷”,在她看来,生机勃勃幢房屋是还是不是有价值,完全要看它离戏院的远近而定。她死后大概留下了500元钱。这事我们是从她所获得的利息推断出来的——20元。姑妈把那笔钱用作遗产留给一人未有家的、正派的老小姐。那笔钱是专为每一年买一张二层楼上右侧位子的票而用的,并且是星期日的一张票,因为最棒的戏都以在此天上演的;相同的时间她每星期天在戏院的时候必需默念一下躺在墓葬里的姑妈。