铜猪
【安徒生童话】安徒生童话 铜猪

【安徒生童话】安徒生童话铜猪在一个小村庄里,住着一位财主。
他非常富有,但也非常吝啬。
他从不帮助别人,而且还经常剥削村里的农民。
人们对他非常厌恶。
财主有一个孩子,是个聪明伶俐的小姑娘。
她对父亲的行为十分不满,非常想改变他的行为,让他变得善良。
一天,财主去外地办事,留下女儿独自在家。
女儿决定利用这段时间,寻找一个解救父亲的方法。
她走进家族的书房,翻阅了许多书籍,从中发现了一个关于铜猪的故事。
据说,在很久以前,有一只铜猪,它会在中午的时候吐出黄金。
只要有人打开它的嘴巴,就能得到无尽的财富。
这个故事非常吸引女儿,她决定寻找这只铜猪。
女儿穿着一身平凡的衣服,化装成农民的模样,离开了家。
她一直走到了山脚下,发现了一个破旧的庄园。
庄园的主人告诉她,他听说有一个铜猪藏在山洞里,但那里有许多困难需要克服。
女儿决定挑战这些困难,寻找铜猪。
她走进山洞,打开了第一扇门。
她被突如其来的黑暗吓了一跳,但她坚定地继续前进,打开了第二扇门。
她发现自己被巨大的石墙包围,但她找到了通往下一个房间的秘密通道。
女儿继续往前走,打开了第三扇门。
她进入了一个宽敞明亮的房间,看到了一个铜猪。
她兴奋地走过去,试图打开铜猪的嘴巴。
但是铜猪看起来非常沉重,她无法使劲打开它的嘴巴。
就在这时,一个男孩走了进来。
他告诉女儿,他也在寻找铜猪,并愿意帮助她。
两个人一起用力,终于打开了铜猪的嘴巴。
铜猪咳嗽了一声,吐出了一串金子。
女儿把金子装进袋子里,回到了家。
她等待着父亲回家,准备给他一个惊喜。
当父亲回到家时,她打开袋子,让他看到里面的黄金。
父亲非常惊讶,他终于明白了自己一直以来的错误。
他后悔自己的过去行为,并发誓要改变自己。
从那以后,他不再剥削别人,而是开始帮助村里的贫困人口。
财主和女儿的关系也开始变得亲密起来。
他们一起度过了许多快乐的时光,家里也变得和睦而幸福。
通过寻找铜猪,女儿不仅解救了财主,还教会了他宝贵的人生道理。
再也没有人因为财主的行为而受苦,他的农民们也得到了应有的待遇。
安徒生童话铜猪读后感

安徒生童话铜猪读后感安徒生童话《铜猪》读后感。
安徒生是丹麦著名的童话作家,他的童话作品以其深刻的寓意和优美的语言而著称。
其中,《铜猪》是一篇让人印象深刻的童话故事,它讲述了一个铜猪雕像的故事,铜猪雕像在风雨中经历了无数次的洗礼,最终成为了一尊金猪雕像。
这个故事给人留下了深刻的印象,让人感慨万分。
故事的主人公是一尊铜猪雕像,它在一个城市的广场上屹立了很多年。
在这段时间里,它经历了无数次的风雨洗礼,但它始终坚强地屹立不倒。
这个故事告诉我们,坚持不懈是成功的关键。
无论遇到多大的困难,只要我们坚持不懈,就一定能够取得成功。
故事的另一个寓意是,人生中的困难和挫折都是宝贵的财富。
正是因为铜猪雕像经历了无数次的风雨洗礼,它才最终成为了一尊金猪雕像。
同样,我们在人生中遇到的困难和挫折也会让我们变得更加坚强,更加成熟。
所以,我们应该学会从困难中汲取力量,不断提升自己。
故事的结局是令人振奋的。
铜猪雕像最终成为了一尊金猪雕像,成为了城市的一大景观。
这告诉我们,只要我们不断努力,就一定能够取得成功。
成功不是一蹴而就的,而是需要经历无数次的努力和坚持。
正是因为铜猪雕像不断地坚持下去,才最终成为了一尊金猪雕像。
这个故事给了我很多启发。
它告诉我,人生中会遇到很多困难和挫折,但只要我们坚持不懈,就一定能够克服一切困难。
同时,我也明白了,困难和挫折都是宝贵的财富,它们会让我们变得更加坚强,更加成熟。
所以,我要学会从困难中汲取力量,不断提升自己。
总的来说,《铜猪》是一篇富有深刻寓意的童话故事,它让人感慨万分。
通过这个故事,我们不仅可以学到很多道理,还能够感受到安徒生深厚的情感和对生活的热爱。
希望我们能够在人生的道路上,像铜猪雕像一样,坚持不懈,不断努力,最终取得成功。
19安徒生格林童话——铜猪

面对眼前的种种奇景,小孩惊讶不已。墙上折射出的流光异彩显示出一种勃勃的生机,一切都是活动的。维纳斯——眼前的维纳斯塑像——体态丰腴,热情洋溢,就跟提香初见她时那样,这不能不说是一道奇景。紧挨着维纳斯塑像的是两位漂亮女人的肖像画:她们那娇柔的裸露着的身体躺在舒适的软垫上;她们的胸部随着呼吸一起一伏,头摆动着,又浓又密的鬈发一直垂落到她们丰满白嫩的双肩上。从她们那黑亮的双眼中流露出内心的狂热。但是画中的人物谁也不能越出画框。那些美丽的神女,勇敢的武士,坚毅的磨剑人都呆在自己的位置上。他们被圣母、耶稣、圣·约翰身上发出的神圣的光环所环绕。这些圣像画已不再是单纯的一幅图画而已,都成了真正的神。
不管是谁到佛罗伦萨都能轻而易举地找到这个地方。他只要问一下他遇到的第一个乞丐就能很快找到这只古老的铜猪。
故事发生在一个冬天,天已近黄昏。山都披上了银装,月亮挂在天空。这意大利的月光跟北欧冬天的日光相比,也毫不逊色,相反,或许还会好一点,至少空气是光亮的,让人觉得些许明朗;而不像北欧那阴郁、沉闷、冷冷的空气让人感到一种压抑,似乎要把我们压入那寒冷潮湿的地底下,而有一天我们的棺木就会埋葬在那里。
公爵花园里有一片松树林,松林下面那一千株玫瑰花即使在冬天也不忘展示它们的娇艳。在这美丽的玫瑰园中坐着一个小孩,他的衣服已破旧不堪了,他在这已坐了整整一天了。从他的衣着可以看出他的生活过得一定是相当贫苦的,但他却面上含笑,显得那么纯真可爱,可以说,他就是意大利的剪影。天色越来越暗,花园要关闭了,他被守园人赶了出去。这一天,没有一个人可怜他给他一个子儿,现在他饥饿难耐。他来到亚尔诺河桥上,望着洒在河面的点点星辰,陷入了久久的沉思。
【安徒生童话】安徒生童话 铜猪

【安徒生童话】安徒生童话铜猪铜猪很久很久以前,在一个小村庄里,住着一个非常勤劳的小伙子。
他每天早早地起床,去田地干活,田地里他种下了很多的庄稼,只要一片云彩过来,他就马上准备收割。
他不但干活勤劳,而且善良、乐于助人。
村里的人们非常喜欢这个小伙子。
有一天,小伙子听说在一个很远很远的地方,有一座被称为“魔法山”的山,山上有一只铜猪。
这只铜猪每天早晚都会叫,每次叫声都会带来好运。
小伙子听了之后非常心动,他决定寻找这只铜猪。
小伙子整理好行囊,向村里的人们告别,他告诉他们,他要去寻找铜猪,他也希望能够带回好运。
村里的人们虽然不舍,但还是祝福他,希望他能找到铜猪。
小伙子踏上了旅途,他一边走一边观察四周,他知道自己要走很远的路才能找到铜猪。
经过了很长时间的奔波,小伙子疲惫地倒在了一片草地上,他决定在这里休息一下。
正在这时,他听到了一只乌鸦的哭声。
他迅速站起身,看见了一只被绳子捆住的乌鸦,它的一只脚被绳子缠住了。
小伙子心生怜悯,他走过去,解开了乌鸦的绳子,乌鸦飞了起来,瞪了一眼小伙子,就飞走了。
小伙子继续走着,没多久,他发现了一只鸟巢,鸟巢里面有两只鸟蛋,小伙子看到鸟妈妈离开了鸟巢,他猜想鸟妈妈可能出去觅食了。
他看了看天空,发现天色渐渐变暗,小伙子决定帮鸟妈妈孵蛋。
果然,没多久,鸟妈妈飞了回来,看到自己的两个孩子已经健康地破了蛋壳,她感激地看了一眼小伙子,然后带着孩子们飞走了。
小伙子继续前行,终于来到了魔法山前,他爬上山顶,看见了那只远近闻名的铜猪。
铜猪正在为自己的尾巴所困扰,每当它尝试用嘴咬住自己的尾巴时,它就会翻滚到山下,无法自拔。
小伙子看在眼里,心生怜悯,他走过去抱起铜猪,帮它咬住自己的尾巴。
铜猪很高兴,它叫了一声,小伙子就感觉到自己的手中多了一块的铜钱。
小伙子心满意足地离开了魔法山,他继续往回走。
因为他帮助了乌鸦、孵蛋和铜猪,他总是能够感受到别人的帮助和善意。
他发现自己的生活更加幸福了,他拥有了比以前更多的朋友和幸运。
安徒生童话铜猪读后感

安徒生童话铜猪读后感《安徒生童话铜猪》读后感《安徒生童话铜猪》是丹麦作家安徒生的一部著名童话作品,讲述了一个关于真爱和自我价值的故事。
故事中的铜猪代表着一个美丽善良的姑娘,她被困在一座城堡里,等待着有勇气、有智慧的王子来拯救她。
这个故事深刻地反映了安徒生对爱情和人性的理解,也给人们带来了很多启示和反思。
铜猪,是一个寓意深刻的角色。
她美丽善良,但却被困在城堡里,无法自拔。
她的命运完全掌握在别人手中,她需要等待一个有勇气、有智慧的王子来解救她。
这种无助和被动的状态,让人不禁为她感到心痛。
然而,正是这种状态,让铜猪成为了一个寓意深刻的象征。
她代表着所有被困在困境中的人,无论是因为外部环境的限制,还是因为内心的困扰。
她的故事告诉我们,即使处在困境中,也要保持美丽和善良,等待着那个能够拯救自己的人的到来。
而故事中的王子,则代表着勇气和智慧。
他不畏艰险,勇敢地面对困难,最终成功地解救了铜猪。
这样的形象让人联想到自己内心深处的那个勇敢的自己,也让人想起自己曾经面对困难时,是如何克服自己的恐惧和不安,最终战胜困难的。
王子的形象给了人们力量和希望,让人相信,只要有勇气和智慧,就一定能够战胜困难,实现自己的梦想。
故事中的情节跌宕起伏,情感真挚动人。
铜猪和王子之间的爱情故事,让人感动不已。
他们之间的爱情不仅仅是对外表的迷恋,更多的是对内心美丽的追求。
铜猪的美丽并不在于外表,而在于她内心的善良和纯真。
而王子的勇气和智慧也并非来自外在的力量,而是来自内心的真诚和善良。
他们之间的爱情故事,让人感叹爱情的伟大和纯洁,也让人对爱情充满了美好的幻想。
通过《安徒生童话铜猪》这个故事,我们不仅可以感受到安徒生对爱情和人性的深刻理解,也可以从中得到很多启示和反思。
故事告诉我们,无论处在怎样的困境中,都要保持内心的美丽和善良,相信勇气和智慧能够战胜一切困难。
同时,也要珍惜真爱,不被外表所迷惑,而是要看清内心的美丽和善良。
这样的故事,不仅能够给人带来愉悦和感动,也能够让人在人生的道路上获得力量和勇气。
安徒生童话故事第17篇:铜猪TheMetalPig

安徒生童话故事第:铜猪The Metal Pig(2)安徒生童话故事第17篇:铜猪The Metal Pig⒂马基雅弗利(Niccolo di Bernardo Machiavelli,1469~1527)是佛罗伦萨的政治家和政治理论家,并且是不择手段,只求达到目的的泼辣的外交家。
⒃这个字的意大利原文是Marito,即“丈夫”或“爱人”的意思。
⒄原文是:Piazza della Trinita。
⒅铜猪是后来铸造的。
原物很古,是用大理石刻成的猪,立在乌菲齐宫美术陈列馆前面的广场上。
铜猪英文版:The Metal PigIN the city of Florence, not far from the Piazza del Granduca, runs a little street called Porta Rosa. In this street, just in front of the market-place where vegetables are sold, stands a pig, made of brass and curiously formed. The bright color has been changed by age to dark green; but clear, fresh water pours from the snout, which shines as if it had been polished, and so indeed it has, for hundreds of poor people and children seize it in their hands as they place their mouths close to the mouth of the animal, to drink. It is quite a picture to see a half-naked boy clasping the well-formed creature by the head, as he presses his rosy lips against its jaws. Every one who visits Florence can very quickly find the place; he has only to ask the first beggar he meets for the Metal Pig, and he will be told where it is.It was late on a winter evening; the mountains were covered with snow, but the moon shone brightly, and moonlight in Italy is like a dull winter’s day in the north; indeed it is better, for clear air seems to raise us above the earth, while in the north a cold, gray, leaden sky appears to press us down to earth, even asthe cold damp earth shall one day press on us in the grave. In the garden of the grand duke’s palace, under the roof of one of the wings, where a thousand roses bloom in winter, a little ragged boy had been sitting the whole day long; a boy, who might serve as a type of Italy, lovely and smiling, and yet still suffering. He was hungry and thirsty, yet no one gave him anything; and when it became dark, and they were about to close the gardens, the porter turned him out. He stood a long time musing on the bridge which crosses the Arno, and looking at the glittering stars, reflected in the water which flowed between him and the elegant marble bridge Della Trinità. He then walked away towards the Metal Pig, half knelt down, clasped it with his arms, and then put his mouth to the shining snout and drank deep draughts of the fresh water. Close by, lay a few salad-leaves and two chestnuts, which were to serve for his supper. No one was in the street but himself; it belonged only to him, so he boldly seated himself on the pig’s back, leaned forward so that h is curly head could rest on the head of the animal, and, before he was aware, he fell asleep.It was midnight. The Metal Pig raised himself gently, and the boy heard him say quite distinctly, “Hold tight, little boy, for I am going to run;” and away he sta rted for a most wonderful ride. First, they arrived at the Piazza del Granduca, and the metal horse which bears the duke’s statue, neighed aloud. The painted coats-of-arms on the old council-house shone like transparent pictures, and Michael Angelo’s David tossed his sling; it was as if everything had life. The metallic groups of figures, among which were Perseus and the Rape of the Sabines, looked like living persons, and cries of terror sounded from them all across the noble square. By the Palazzo degli Uffizi, in thearcade, where the nobility assemble for the carnival, the Metal Pig stopped. “Hold fast,” said the animal; “hold fast, for I am going up stairs.”The little boy said not a word; he was half pleased and half afraid. They entered a long gallery, where the boy had been before. The walls were resplendent with paintings; here stood statues and busts, all in a clear light as if it were day. But the grandest appeared when the door of a side room opened; the little boy could remember what beautiful things he had seen there, but to-night everything shone in its brightest colors. Here stood the figure of a beautiful woman, as beautifully sculptured as possible by one of the great masters. Her graceful limbs appeared to move; dolphins sprang at her feet, and immortality shone from her eyes. The world called her the Venus de’ Medici. By her side were statues, in which the spirit of life breathed in stone; figures of men, one of whom whetted his sword, and was named the Grinder; wrestling gladiators formed another group, the sword had been sharpened for them, and they strove for the goddess of beauty. The boy was dazzled by so much glitter; for the walls were gleaming with bright colors, all appeared living reality.As they passed from hall to hall, beauty everywhere showed itself; and as the Metal Pig went step by step from one picture to the other, the little boy could see it all plainly. One glory eclipsed another; yet there was one picture that fixed itself on the little boy’s memory, more especially becau se of the happy children it represented, for these the little boy had seen in daylight. Many pass this picture by with indifference, and yet it contains a treasure of poetic feeling; it represents Christ descending into Hades. They are not the lost whom the spectator sees, but theheathen of olden times. The Florentine, Angiolo Bronzino, painted this picture; most beautiful is the expression on the face of the two children, who appear to have full confidence that they shall reach heaven at last. They are embracing each other, and one little one stretches out his hand towards another who stands below him, and points to himself, as if he were saying, “I am going to heaven.” The older people stand as if uncertain, yet hopeful, and they bow in humble adoration to the Lord Jesus. On this picture the boy’s eyes rested longer than on any other: the Metal Pig stood still before it. A low sigh was heard. Did it come from the picture or from the animal? The boy raised his hands towards the smiling children, and then the Pig ran off with him through the open vestibule.“Thank you, thank you, you beautiful animal,” said the little boy, caressing the Metal Pig as it ran down the steps.“Thanks to yourself also,” replied the Metal Pig; “I have helped you and you have helped me, for it is only when I have an innocent child on my back that I receive the power to run. Yes; as you see, I can even venture under the rays of the lamp, in front of the picture of the Madonna, but I may not enter the church; still from without, and while you are upon my back, I may look in through the open door. Do not get down yet, for if you do, then I shall be lifeless, as you have seen me in the Porta Rosa.”“I will stay with you, my dear creature,” said the little boy. So then they went on at a rapid pace through the streets of Florence, till they came to the square before the church of Santa Croce. The folding-doors flew open, and light streamed from the altar through the church into the deserted square. A wonderful blaze of light streamed from one of the monuments in the left-side aisle, and a thousand moving stars seemed to form a gloryround it; even the coat-of-arms on the tomb-stone shone, and a red ladder on a blue field gleamed like fire. It was the grave of Galileo. The monument is unadorned, but the red ladder is an emblem of art, signifying that the way to glory leads up a shining ladder, on which the prophets of mind rise to heaven, like Elias of old. In the right aisle of the church every statue on the richly carved sarcophagi seemed endowed with life. Here stood Michael Angelo; there Dante, with the laurel wreath round his brow; Alfieri and Machiavelli; for here side by side rest the great men—the pride of Italy.1 The church itself is very beautiful, even more beautiful than the marble cathedral at Florence, though not so large. It seemed as if the carved vestments stirred, and as if the marble figures they covered raised their heads higher, to gaze upon the brightly colored glowing altar where the white-robed boys swung the golden censers, amid music and song, while the strong fragrance of incense filled the church, and streamed forth into the square. The boy stretched forth his hands towards the light, and at the same moment the Metal Pig started again so rapidly that he was obliged to cling tightly to him. The wind whistled in his ears, he heard the church door creak on its hinges as it closed, and it seemed to him as if he had lost his senses—then a cold shudder passed over him, and he awoke.It was morning; the Metal Pig stood in its old place on the Porta Rosa, and the boy found he had slipped nearly off its back. Fear and trembling came upon him as he thought of his mother; she had sent him out the day before to get some money, he had not done so, and now he was hungry and thirsty. Once more he clasped the neck of his metal horse, kissed its nose, and nodded farewell to it. Then he wandered away into one of the narrowest streets, where there was scarcely room for a loaded donkey topass. A great iron-bound door stood ajar; he passed through, and climbed up a brick staircase, with dirty walls and a rope for a balustrade, till he came to an open gallery hung with rags. From here a flight of steps led down to a court, where from a well water was drawn up by iron rollers to the different stories of the house, and where the water-buckets hung side by side. Sometimes the roller and the bucket danced in the air, splashing the water all over the court. Another broken-down staircase led from the gallery, and two Russian sailors running down it almost upset the poor boy. They were coming from their nightly carousal. A woman not very young, with an unpleasant face and a quantity of black hair, followed them. “What have you brought home?” she asked. when she saw the boy.“Don’t be angry,” he pleaded; “I received nothing, I have nothing at all;” and he seized his mother’s dress and would have kissed it. Then they went into a little room. I need not describe it, but only say that there stood in it an earthen pot with handles, made for holding fire, which in Italy is called a marito.This pot she took in her lap, warmed her fingers, and pushed the boy with her elbow.“Certainly you must have some money,” she said. The boy began to cry, and then she struck him with her foot till he cried out louder.“Will you be quiet? or I’ll break your screaming head;” and she swung about the fire-pot which she held in her hand, while the boy crouched to the earth and screamed.Then a neighbor came in, and she had also a marito under her arm. “Felicita,” she said, “what are you doing to the child?”“The child is mine,” she answered; “I can murder him if I like, and you too, Giannina.” And then she swung about the fire-pot. The other woman lifted up hers to defend herself, and the two pots clashed together so violently that they were dashed to pieces, and fire and ashes flew about the room. The boy rushed out at the sight, sped across the courtyard, and fled from the house. The poor child ran till he was quite out of breath; at last he stopped at the church, the doors of which were opened to him the night before, and went in. Here everything was bright, and the boy knelt down by the first tomb on his right, the grave of Michael Angelo, and sobbed as if his heart would break. People came and went, mass was performed, but no one noticed the boy, excepting an elderly citizen, who stood still and looked at him for a moment, and then went away like the rest. Hunger and thirst overpowered the child, and he became quite faint and ill. At last he crept into a corner behind the marble monuments, and went to sleep. Towards evening he was awakened by a pull at his sleeve; he started up, and the same old citizen stood before him.“Are you ill? where do you live? have you been here all day?” were some of the questions asked by the old man. After hearing his answers, the old man took him home to a small house close by, in a back street. They entered a glovemaker’s shop, where a woman sat sewing busily. A little white poodle, so closely shaven that his pink skin could plainly be seen, frisked about the room, and gambolled upon the boy.“Innocent souls are soon intimate,” said the woman, as she caressed both the boy and the dog. These good people gave the child food and drink, and said he should stay with them all night, and that the next day the old man, who was called Giuseppe, would go and speak to his mother. A little homely bed was prepared for him, but to him who had so often slept on the hard stones it was a royal couch, and he slept sweetly and dreamed ofthe splendid pictures and of the Metal Pig. Giuseppe went out the next morning, and the poor child was not glad to see him go, for he knew that the old man was gone to his mother, and that, perhaps, he would have to go back. He wept at the thought, and then he played with the little, lively dog, and kissed it, while the old woman looked kindly at him to encourage him. And what news did Giuseppe bring back? At first the boy could not hear, for he talked a great deal to his wife, and she nodded and stroked the boy’s cheek.Then she said, “He is a good lad, he shall stay with us, he may become a clever glovemaker, like you. Look what delicate fingers he has got; Madonna intended him for a glovemaker.” So the boy stayed with them, and the woman herself taught him to sew; and he ate well, and slept well, and became very merry. But at last he began to tease Bellissima, as the little dog was called. This made the woman angry, and she scolded him and threatened him, which made him very unhappy, and he went and sat in his own room full of sad thoughts. This chamber looked upon the street, in which hung skins to dry, and there were thick iron bars across his window. That night he lay awake, thinking of the Metal Pig; indeed, it was always in his thoughts. Suddenly he fancied he heard feet outside going pit-a-pat. He sprung out of bed and went to the window. Could it be the Metal Pig? But there was nothing to be seen; whatever he had heard had passed already. Next morning, their neighbor, the artist, passed by, carrying a paint-box and a large roll of canvas.“Help the gentleman to carry his box of colors,” said the woman to the boy; and he obeyed instantly, took the box, and followed the painter. They walked on till they reached the picture gallery, and mounted the same staircase up which he had riddenthat night on the Metal Pig. He remembered all the statues and pictures, the beautiful marble Venus, and again he looked at the Madonna with the Saviour and St. John. They stopped before the picture by Bronzino, in which Christ is represented as standing in the lower world, with the children smiling before Him, in the sweet expectation of entering heaven; and the poor boy smiled, too, for here was his heaven.“You may go home now,” said the painter, while the boy stood watching him, till he had set up his easel.“May I see you paint?” asked the boy; “may I see you put the picture on this white canvas?”“I am not going to paint yet,” replied the artist; then he brought out a piece of chalk. His hand moved quickly, and his eye measured the great picture; and though nothing appeared but a faint line, the figure of the Saviour was as clearly visible as in the colored picture.“Why don’t you go?” said the painter. Then the boy wandered home silently, and seated himself on the table, and learned to sew gloves. But all day long his thoughts were in the picture gallery; and so he pricked his fingers and was awkward. But he did not tease Bellissima. When evening came, and the house door stood open, he slipped out. It was a bright, beautiful, starlight evening, but rather cold. Away he went through the already-deserted streets, and soon came to the Metal Pig; he stooped down and kissed its shining nose, and then seated himself on its back.“You happy creature,” he said; “how I have longed for you! we must take a ride to-n ight.”But the Metal Pig lay motionless, while the fresh stream gushed forth from its mouth. The little boy still sat astride on itsback, when he felt something pulling at his clothes. He looked down, and there was Bellissima, little smooth-shaven Bellissima, barking as if she would have said, “Here I am too; why are you sitting there?”A fiery dragon could not have frightened the little boy so much as did the little dog in this place. “Bellissima in the street, and not dressed!” as the old lady called it;“what would be the end of this?”The dog never went out in winter, unless she was attired in a little lambskin coat which had been made for her; it was fastened round the little dog’s neck and body with red ribbons, and was decorated with rosettes and little bells. The dog looked almost like a little kid when she was allowed to go out in winter, and trot after her mistress. And now here she was in the cold, and not dressed. Oh, how would it end? All his fancies were quickly put to flight; yet he kissed the Metal Pig once more, and then took Bellissima in his arms. The poor little thing trembled so with cold, that the boy ran homeward as fast as he could.“What are you running away with there?” asked two of the police whom he met, and at whom the dog barked. “Where have you stolen that pretty dog?” they asked; and they took it away from him.“Oh, I have not stolen it; do give it to me back again,” cried the boy, despairingly.“If you have not stolen it, you may say at home that they can send to the watch-hous e for the dog.” Then they told him where the watch-house was, and went away with Bellissima.Here was a dreadful trouble. The boy did not know whether he had better jump into the Arno, or go home and confess everything. They would certainly kill him, he thought.“Well, I would gladly be killed,” he reasoned; “for then I shall die, and go to heaven:” and so he went home, almost hoping for death.The door was locked, and he could not reach the knocker. No one was in the street; so he took up a stone, and with it made a tremendous noise at the door.“Who is there?” asked somebody from within.“It is I,” said he. “Bellissima is gone. Open the door, and then kill me.”Then indeed there was a great panic. Madame was so very fond of Bellissima. She immediately looked at the wall where the dog’s dress usually hung; and there was the little lambskin.“Bellissima in the watch-house!” she cried. “You bad boy! how did you entice her out? Poor little delicate thing, with those rough policemen! and she’ll be frozen with cold.”Giuseppe went off at once, while his wife lamented, and the boy wept. Several of the neighbors came in, and amongst them the painter. He took the boy between his knees, and questioned him; and, in broken sentences, he soon heard the whole story, and also about the Metal Pig, and the wonderful ride to the picture-gallery, which was certainly rather incomprehensible. The painter, however, consoled the little fellow, and tried to soften the lady’s anger; but she would not be pacified till her husband returned with Bellissima, who had been with the police. Then there was great rejoicing, and the painter caressed the boy, and gave him a number of pictures. Oh, what beautiful pictures these were!—figures with funny heads; and, above all, the Metal Pig was there too. Oh, nothing could be more delightful. By means of a few strokes, it was made to appear on the paper; and even the house that stood behind it had been sketched in. Oh, if hecould only draw and paint! He who could do this could conjure all the world before him. The first leisure moment during the next day, the boy got a pencil, and on the back of one of the other drawings he attempted to copy the drawing of the Metal Pig, and he succeeded. Certainly it was rather crooked, rather up and down, one leg thick, and another thin; still it was like the copy, and he was overjoyed at what he had done. The pencil would not go quite as it ought,—he had found that out; but the next day he tried again. A second pig was drawn by the side of the first, and this looked a hundred times better; and the third attempt was so good, that everybody might know what it was meant to represent.And now the glovemaking went on but slowly. The orders given by the shops in the town were not finished quickly; for the Metal Pig had taught the boy that all objects may be drawn upon paper; and Florence is a picture-book in itself for any one who chooses to turn over its pages. On the Piazza dell Trinita stands a slender pillar, and upon it is the goddess of Justice, blindfolded, with her scales in her hand. She was soon represented on paper, and it was the glovemaker’s boy who placed her there. His collection of pictures increased; but as yet they were only copies of lifeless objects, when one day Bellissima came gambolling before him: “Stand still,” cried he, “and I will draw you beautifully, to put amongst my collection.”But Bellissima would not stand still, so she must be bound fast in one position. He tied her head and tail; but she barked and jumped, and so pulled and tightened the string, that she was nearly strangled; and just then her mistress walked in.“You wicked boy! the poor little creature!” was all she could utter.She pushed the boy from her, thrust him away with her foot,called him a most ungrateful, good-for-nothing, wicked boy, and forbade him to enter the house again. Then she wept, and kissed her little half-strangled Bellissima. At this moment the painter entered the room. In the year 1834 there was an exhibition in the Academy of Arts at Florence. Two pictures, placed side by side, attracted a large number of spectators. The smaller of the two represented a little boy sitting at a table, drawing; before him was a little white poodle, curiously shaven; but as the animal would not stand still, it had been fastened with a string to its head and tail, to keep it in one position. The truthfulness and life in this picture interested every one. The painter was said to be a young Florentine, who had been found in the streets, when a child, by an old glovemaker, who had brought him up. The boy had taught himself to draw: it was also said that a young artist, now famous, had discovered talent in the child just as he was about to be sent away for having tied up madame’s favorite little dog, and using it as a model. The glovemake r’s boy had also become a great painter, as the picture proved; but the larger picture by its side was a still greater proof of his talent. It represented a handsome boy, clothed in rags, lying asleep, and leaning against the Metal Pig in the street of the Porta Rosa. All the spectators knew the spot well. The child’s arms were round the neck of the Pig, and he was in a deep sleep. The lamp before the picture of the Madonna threw a strong, effective light on the pale, delicate face of the child. It was a beautiful picture. A large gilt frame surrounded it, and on one corner of the frame a laurel wreath had been hung; but a black band, twined unseen among the green leaves, and a streamer of crape, hung down from it; for within the last few days the young artist had—died.。
【安徒生童话】安徒生童话 铜猪

【安徒生童话】安徒生童话铜猪安徒生童话《铜猪》从前,有一个国王,他非常喜欢收藏铜器。
他的整个王国都展示着丰富的铜器,但他却认为还不够。
于是他召集了世界各地的艺术家,让他们创造出最美的铜猪。
最终,一个名叫约翰的艺术家带着他的作品来到了国王的宫殿——一只栩栩如生的铜猪,大小正合国王的心意。
国王喜欢它的外表和质地,于是决定用海量的金钱购下这只铜猪。
国王很爱这只铜猪,他将它放在他的卧室里,每晚都安睡在它的旁边,对它讲述自己的想法和梦想。
他一直相信它会保护他,甚至会把他从危险中拯救出来。
某天,早上国王准备去打猎,他将铜猪交给宫廷守卫,让他好好保护它。
可是,当国王回来的时候,铜猪不见了。
守卫们慌乱失措,他们不知道铜猪是如何被偷走的。
国王非常生气,他知道这是丑闻,而且这还是他最珍贵的藏品之一。
于是他下令所有的市民都受到攻击,并要求军队出动追捕窃贼。
几天后,一名年轻的男子被捕,被指责偷了国王的铜猪。
这个男人非常害怕,他知道他是无辜的,他也不知道铜猪是如何落进他手中的。
但是国王并不想听他解释的理由,他仅仅因为铜猪在这个男人的房子里被发现而认为他是罪犯。
年轻男子被定罪后,被关进监狱。
他非常难过,他没有任何声音或证据来证明自己是清白的。
然而,一天晚上,铜猪被带回了国王的卧室。
当守卫告诉国王这个时,国王很快意识到他们已错怪那个年轻的男人了。
国王被他自己的错判感到羞愧,他将那个年轻男子释放,并道歉说他已经错怪了他。
从此,国王对他的铜器珍藏额外小心,他真正意识到了它们的价值,并且明白了每件事都有两面性。
故事告诉我们,不要因为外表而判断事物,更重要的是看内在和适合。
【安徒生童话】安徒生童话 铜猪

【安徒生童话】安徒生童话铜猪《铜猪》是安徒生童话中的一篇。
故事讲述了一个机智聪明的小男孩利用一只铜猪的帮助,成功打败了邪恶的王子,并获得了公主的爱情的故事。
从前,有一个国王,他有一个漂亮而聪明的女儿。
国王为了让公主找到一个有能力的丈夫,提出了一个困难的问题,那就是:让求婚者答对三个问题,否则就会丧命。
有许多人前去迎娶公主,但是没有一个人能够回答出全部的问题。
这使得公主非常伤心,她希望有一个真心对她好的丈夫。
有一天,一个小男孩途经了这个国家。
他听说了公主的问题,决定尝试一下。
于是他来到了国王的宫殿。
国王对这个小男孩的外貌并不满意,但还是给他一个机会回答问题。
第一个问题是:“大海有多深?”小男孩想了一下,然后回答:“大海永远也不会填满。
”国王满意了。
第二个问题是:“天空有多高?”小男孩又想了一下,然后回答:“天空没有限制。
”国王再次满意了。
第三个问题是:“你能回答我以外的问题吗?”小男孩一下子陷入了困境,因为他不知道国王会问什么问题。
这时候,小男孩看到了一个铜猪,他突然想到了一个主意。
小男孩对国王说:“我可以回答你的问题,但是你必须先让我问个问题。
”国王同意了。
小男孩问道:“这个铜猪是不是可以说话?”国王觉得这个问题很容易回答,于是他说:“不可以。
”小男孩听到了国王的回答,然后对铜猪说:“喂,你为什么不回答我的问题呢?”铜猪说:“我只和智慧的人说话,不和愚蠢的人说话。
”国王吃了一惊,因为他没想到铜猪会说话。
此时,小男孩继续问:“如果我的问题正确,你就要为我解答一个问题,对吗?”铜猪点了点头。
小男孩问:“国王是不是一个愚蠢的人?”铜猪回答说:“是的。
”国王恼火地对铜猪说:“你不许乱说话!”但铜猪不理会国王的责骂。
小男孩利用铜猪的帮助,成功地找到了一个可以击败邪恶王子的办法。
最终,小男孩解决了国王的问题,并娶到了公主为妻。
这个故事告诉我们,机智和智慧可以击败邪恶,获得幸福和成功。
无论遇到什么困难,只要心怀智慧,我们就能够找到解决问题的方法。
安徒生童话铜猪读后感

安徒生童话铜猪读后感安徒生童话《铜猪》读后感。
《铜猪》是一部充满哲理和深刻寓意的童话故事。
故事中的主人公是一个叫做约翰的男孩,他在一次冒险中得到了一只能说话的铜猪,从而展开了一段充满挑战和奇遇的旅程。
通过这个故事,安徒生向我们传达了许多关于勇气、友情和成长的深刻思考。
故事一开始,约翰是一个贫穷的孩子,他的父母早逝,他只能靠自己生活。
然而,他并没有因此而沮丧,相反,他是一个充满勇气和决心的男孩。
当他得到了铜猪的帮助后,他更是勇往直前,克服了一个又一个的困难。
这告诉我们,勇气和决心是战胜困难的关键,只要我们有勇气,就能战胜一切。
在约翰的旅程中,他结识了许多朋友,其中就包括了铜猪。
铜猪虽然是一个铜制的机器人,但他却有着和人类一样的情感和智慧。
他和约翰一起经历了许多困难和危险,他们之间的友情也变得越来越深厚。
这让我们明白,友情是无处不在的,只要我们用心去对待,就能结识到真正的朋友。
最后,在约翰的旅程中,他终于找到了自己的幸福。
通过一系列的奇遇和挑战,他不仅得到了财富,更重要的是,他也找到了自己的归宿。
这告诉我们,只要我们努力不懈,就能最终找到自己的幸福,无论是物质上的还是精神上的。
总的来说,安徒生的《铜猪》是一部充满智慧和温暖的童话故事。
通过约翰和铜猪的冒险旅程,我们不仅可以感受到勇气、友情和幸福的重要性,更能从中汲取力量和启示。
这个故事告诉我们,只要我们用心去追求,就能最终找到自己的幸福,无论是在物质上还是在精神上。
希望每个人都能像约翰一样,勇敢地面对生活,追求自己的幸福。
【安徒生童话】安徒生童话 铜猪

【安徒生童话】安徒生童话铜猪从前,在一个遥远的国度里,有一位年老的皇帝,他非常富有,拥有无数的珍宝和奇珍异宝。
他最引以为傲的就是一尊铜猪雕像,这尊铜猪被放置在宫殿的大厅之中,每当有客人来访时,皇帝都会让仆人引导他们去觉摸这尊铜猪。
这尊铜猪不但金属光泽良好,而且还铸造得非常细致,仿佛有生命一般。
有一天,一位来自远方的年轻雕塑家听说了这尊铜猪的传说,便立刻动身前往,希望自己也有机会见识这尊传奇中的铜猪。
他克服千难万险,终于到达了皇帝的宫殿,然而当他观赏完那尊铜猪之后,他并没有被感动,相反,他感到十分失望。
“这样一尊雕工精巧的铜猪,居然只能被用来摆设在宫殿之中。
”年轻雕塑家嘀咕道。
这时,皇帝的侍从走了过来,他看出了年轻人的不满,便问道:“你对这尊铜猪为何不满意呢?”年轻雕塑家侃侃而谈:“这尊铜猪实在是太精美了,它应该被带到人们的面前去展示,而不是被寄放在这里。
”皇帝的侍从露出了满意的笑容,他说:“你说的很对,这尊铜猪的确应该被人们所珍惜和享受,而不应该只是宫殿里的摆设。
来吧,你是一个精湛的雕塑家,你应该为这尊铜猪创造一个可以供人们触摸的场所。
”年轻雕塑家非常高兴,他立刻接受了这个任务。
经过了数月的艰苦劳作,他终于完成了这个场所,并在金字塔的顶端放置了一个巨大的猪脚,这样,人们便可爬上猪脚,触摸这尊铜猪,感受它的美丽。
当人们得知这个消息后,他们纷纷前来触摸这尊铜猪。
甚至连皇帝也亲自前来触摸,而且他还让雕塑家帮他设计了一连串的雕像,这些雕像都以铜猪为主题,其中有的是猪正在塑像,有的是猪在和其他动物一起玩,还有的是铜猪在与它的主人一起闲逛。
这些雕像被放置在城市的各处,人们通过这些雕像,得以触摸这尊铜猪。
每当有人来触摸铜猪的时候,他们心里都会涌现出一股温暖的感觉,仿佛是在与铜猪进行一次心灵的交流。
就在这时,一个贪心的商人闻风而来,他听说这尊铜猪非常受人欢迎,于是便打起了铜猪的主意。
他自己动手制造了一尊铜猪,然后假冒伪劣的铜猪混入了真正的一猪雕像之中。
【安徒生童话】安徒生童话 铜猪

【安徒生童话】安徒生童话铜猪从前有一个铜匠,他生活在一个小村庄。
他非常喜欢铜,经常用铜制作各种各样的东西。
他的工作室里摆满了各种大小的铜像,有人物,动物,还有一些奇怪的怪物。
有一天,铜匠突然想到一个主意,他要制作一个巨大的铜猪。
他想象着,如果他能把这个铜猪摆放在村庄的中心广场,那将会是多么壮观的景象。
于是铜匠开始了他的工作,他用最精细的铜块雕刻出了一只栩栩如生的猪。
这只铜猪非常巨大,高高地矗立在铜匠的工作室里。
村里的人听到了消息,纷纷来到铜匠的工作室参观这个铜猪。
铜匠非常自豪地告诉村民们,他将把这个铜猪送给整个村庄。
村民们非常兴奋,纷纷表示感谢。
他们知道这个铜猪将成为村庄的标志,让整个村庄都因为这个铜猪而变得有名气。
铜匠将铜猪搬到了中心广场,村民们争着为它找一个合适的位置。
他们找到了一个高高的石台,正好可以放下这只巨大的铜猪。
铜匠亲自在石台上抬着铜猪,将它放置在了上面。
村民们纷纷赞叹不已,这个铜猪真的太漂亮了!它闪闪发光,散发着令人愉悦的光芒。
大家都觉得这真是一个伟大的作品。
铜猪的光芒并没有持续多久。
几天后,人们发现铜猪的颜色开始变黯淡,原本闪闪发光的表面变得暗淡无光。
村民们非常失望,他们来到铜匠的工作室询问原因。
铜匠听到了大家的质疑,非常尴尬和困惑。
他知道这个铜猪应该可以保持很长时间的光芒,但他不知道为什么它会这样变暗。
于是铜匠开始研究这个问题。
他观察了铜猪,发现它的表面上有一层薄薄的尘土。
他想到,也许是因为尘土的原因,导致了铜猪变暗。
铜匠用湿布仔细地擦洗着铜猪的表面,尘土渐渐被清除。
随着铜猪表面越来越干净,它的光芒也重新焕发。
村民们非常高兴,他们继续欣赏着这个美丽的铜猪。
从那以后,铜匠每天都来到广场,用湿布为铜猪擦洗着。
他明白,只有保持铜猪的清洁,才能使它始终保持光芒。
这个故事告诉我们,要保持美丽和光芒,我们必须时刻保持干净和清洁。
只有付出努力,才能够让美丽永恒。
正如这个铜猪一样,它需要我们的呵护和保持,才能持续地闪耀着光芒。
【安徒生童话】安徒生童话 铜猪

【安徒生童话】安徒生童话铜猪从前有一个国王,他的王宫里有一座漂亮的花园,里面种满了各种各样的鲜花和果树。
国王特别喜欢这座花园,每天都会来散步、赏花。
有一天,国王在花园里散步时发现了一座铜猪,它的表情非常可爱,像是在笑。
国王觉得这座铜猪很有趣,所以决定将它放在花园的中央,成为花园的新景点。
铜猪的出现,吸引了许多游客前来观赏。
每天都有人围在铜猪旁边拍照,许下心愿。
国王看到人们如此喜欢铜猪,心里也感到非常开心,他觉得这个铜猪带给了人们快乐和幸福。
这座铜猪有个秘密,它可以帮助人们实现自己的愿望。
只要你拥抱着铜猪,向它许下真心的愿望,它就会帮你实现。
一天,一个贪婪的商人来到了花园。
他听说了关于铜猪的神奇力量,想要借此发财。
于是,他决定买下这座铜猪,并把它放在自己的花园里,让更多的人支付他巨额的费用才能让铜猪实现愿望。
商人将铜猪搬走后,花园丧失了生机,花儿都枯萎了,果树也不再结果。
人们对商人的行为非常愤怒,但他对他们的愤怒是充耳不闻的。
商人并不知道,拥有铜猪的能力并不是拥有它的人,而是那些真心对待它的人。
只有真心对待铜猪,才能通过它的力量实现自己的愿望。
日子一天天过去,商人的花园越来越荒凉,乌云不断聚集在他的头上。
最终,商人再也无法忍受这样的局面,他后悔自己的贪婪。
于是,商人决定归还铜猪给国王,并向全国人民道歉。
当他将铜猪放回花园时,奇迹发生了。
花园恢复了生机,鲜花盛开,果树结果。
这时,人们又再次围在铜猪旁拍照、许愿。
他们明白了拥有铜猪力量的真正意义,那就是诚实和善良。
从那以后,这座铜猪在花园里一直存在,帮助着人们实现他们真心的愿望。
国王看到人们的幸福,他也感到非常开心。
这个故事告诉我们,诚实和善良是最重要的品质。
拥有物质财富并不一定会带来真正的幸福,只有真心对待他人并乐于助人,我们才能获得真正的快乐和幸福。
【安徒生童话】安徒生童话 铜猪

【安徒生童话】安徒生童话铜猪从前有一只小猪,它的身体全都是铜色的。
它住在一个小村庄的农场里,和其他的动物们一起生活。
因为它的特殊颜色,小猪成为了农场的明星,每天都有许多游客来看它。
小猪虽然非常受欢迎,但它非常孤独。
它觉得自己和其他动物不一样,无法和它们交流。
它曾经试着和其他猪交朋友,但它们只是觉得它是一个奇怪的存在,不愿意和它玩耍。
一天,小猪听说了一个传说,说在森林深处有一个会说话的巫婆。
小猪决定去找她,看看是否能帮助自己改变。
于是,小猪离开了农场,开始了它的冒险之旅。
小猪走进了森林,经过了一片丛林和一座小山,终于来到了巫婆的住所。
她是一个年老的女巫,拥有神奇的力量。
小猪恭敬地向她请教,希望她能帮助它摆脱孤独的困境。
巫婆听完小猪的请求后,思索了一会儿。
她看出小猪的困惑和伤心,决定给它一个宝贵的礼物。
她召唤出一只金魔法师,赐予小猪能够说人类语言的能力。
小猪非常高兴,它一下子变得很开心。
从此,它可以和人类交流,和其他动物进行对话。
小猪回到农场后,它告诉其他的动物们它的新能力。
它们都非常惊讶,开始争相和它交朋友。
小猪不再感到孤独了,它变成了农场中最受欢迎的动物之一。
每天都有许多人来和它交流,听它讲述它和巫婆的冒险故事。
小猪觉得自己终于找到了属于自己的快乐。
小猪的故事传遍了整个村庄,它成为了一只被人们喜爱和崇敬的动物。
它的身上的铜色也变得更亮,更耀眼。
人们都说,这是因为它的心充满了善良和快乐。
小猪明白了一个道理,每个人都会有自己的困境和不同,但我们可以通过努力和勇气去寻找改变自己的方法。
只要我们努力朝着目标前进,就一定能够找到自己的幸福。
小猪的故事告诉我们,无论我们是什么样的人,只要我们真心对待别人,努力去改变自己,就一定能找到快乐和幸福。
这个故事也给我们带来了勇气和希望,让我们相信自己能够创造美好的未来。
安徒生童话铜猪读后感整理

让知识带有温度。
安徒生童话铜猪读后感整理安徒生童话铜猪读后感当细细品完一本名著后,你有什么体会呢?写一份读后感,记录收获与付出吧。
千万不能认为读后感任凭应付就可以,以下是我为大家整理的安徒生童话铜猪读后感,欢迎阅读,盼望大家能够喜爱。
安徒生童话铜猪读后感1前天我读了安徒生童话。
那里面有很多悦耳的故事。
如我们大家都看过的《皇帝的新装》、《海的女儿》、《卖火柴的小女孩》……安徒生生于1805年4月2日,父亲是一个鞋匠,很早去世,幼年的安徙生务受贫困的熬煎,他从小酷爱写作,1827年发表了第一首诗,在哥本哈根上高校的时候发表了第一部作品。
他一生共写了160多篇童话和故事,作品被译成80多种语言。
我喜爱安徒生的作品,由于他对我们有很大的`关心,也对我们有很大的启发。
他的文章里有很多好词佳句,我们可以用到自己的作文里去。
他也告知我们要学会勤劳英勇,学会喜爱生活,也要学会做什么事情都要有始有终,不能半途而废。
安徒生童话铜猪读后感2我读了《安徒生童话》这本故事书,里面的故事都很好玩,我最喜爱的故事是《丑小鸭》,故事叙述了丑小鸭是鸭妈妈从一个最大的蛋里孵出来的,它长得又大又丑太难看了!在农场里,谁都不喜爱它,常常被鸭子和其它动物们欺侮,最终连鸭妈妈都嫌弃它,却他离开,丑小鸭很难过,它觉得自己什么都不第1页/共2页千里之行,始于足下。
是,最终处处游荡,在这期间它经受了、狂风暴雨、猛虎猎狗,但它没有退缩,任然坚持的活了下来,最终通过自己的努力飞了起来,它变成了一只漂亮的白天鹅。
【安徒生童话铜猪读后感】文档内容到此结束,欢迎大家下载、修改、丰富并分享给更多有需要的人。
第2页/共2页。
《铜猪》:穿越时空的爱与回忆

《铜猪》:穿越时空的爱与回忆铜猪是一部以穿越时空为主题的小说,通过讲述主人公在时空之间徘徊的经历,展现了爱与回忆的力量。
本文将从情节、人物、主题等多个方面来阐述《铜猪》这部作品。
一、情节剖析《铜猪》中的情节设计巧妙,令人回味无穷。
故事以主人公小明意外获得一只神奇的铜猪为起点,随着小明不断摸索,铜猪慢慢展示出它的神奇力量。
在小明与铜猪的亲密接触中,他发现铜猪可以带他穿越时空,回到过去或者将来。
这一设置让故事充满了未知和悬念。
通过穿越的经历,小明遇到了一些特殊的人物,他们通过自己的故事展现了各自的爱与回忆,也让小明不断成长和思考。
二、人物塑造小说中的人物形象栩栩如生,让人印象深刻。
小明是一个机智善良的少年,他对身边的事物充满了好奇心和探索欲望。
铜猪通过与小明的互动,引导他走向正确的道路,并在他遇到困难时给予帮助。
铜猪这个角色既代表了时空的奥秘,也象征了爱与回忆的纽带。
除了小明和铜猪,小说中还出现了其他一些有趣的人物,如勇敢善良的战士、聪明伶俐的科学家等,他们都围绕着爱与回忆这个主题展开自己的故事。
三、主题探讨《铜猪》的核心主题是爱与回忆。
小说中的穿越时空的情节让人们可以回到过去或者预见未来,这既是一种享受,也是一种负担。
通过与铜猪的接触,小明逐渐理解到,过去的回忆和现在的人际关系与未来的希望都是他人生的财富。
他学会了珍惜眼前所拥有的,珍惜与家人、朋友的相处时光,并从中体会到了爱与回忆的真谛。
因此,小说通过穿越时空的设定,提醒人们要珍惜当下,不忘初心。
四、文学风格《铜猪》以幻想与现实的交织为特点,语言流畅,节奏感强。
作者善于运用比喻、拟人等修辞手法,让形象更加生动。
描写时空的转换时,插入思索和感悟的段落,增加了作品的哲思意味。
整体上,这种文风带给读者一种穿越时空的感觉,让人更加投入故事情节。
五、结语《铜猪》是一部通过穿越时空述说爱与回忆的小说。
从情节剖析、人物塑造、主题探讨、文学风格等多个角度来看,这部作品在表达爱与回忆的力量上独具一格。
铜猪--安徒生童话

三一文库()〔铜猪--安徒生童话〕在佛罗伦萨城①里,离大公爵广场不远,有一条小小的横街,我想它是叫做波尔塔·罗萨。
在这条街上的一个蔬菜市场前面,有一只艺术性非常强的铜猪。
这个动物因为年代久远,已经变成了墨绿色。
一股新鲜清亮的水从它嘴里喷出来。
它的鼻子发着光,好像有人把它擦亮了似的。
事实上也是如此:成千上万的小孩子和穷人,常常用手抓住这动物的鼻子,把嘴凑上去喝水。
当你看到一个半裸着的天真孩子紧紧地抱着这只好看的动物,把鲜红的嘴唇凑到它的鼻子上的时候,这真是一幅美丽的图画。
无论什么人,一到佛罗伦萨来就很容易找到这块地方。
他只须问一声他所碰到的头一个乞丐,就可以找到这只古铜猪。
这是一个冬天的夜晚,夜深了。
山上都盖满了雪;可是月亮还在照着,而且意大利的月光,跟阴惨惨的北欧冬天的日光比起来,也不见得有什么逊色。
不,比那还要好,因为空气在发着光,使人感到轻快;而在北欧呢,那种寒冷、灰色、像铅一样的阴沉气氛,把我们压到地上——压到又寒又湿的、将来总有一天会埋葬我们的棺材的地上。
在公爵的花园里,在一片松树林下面——这儿有一千株玫瑰在冬天开着花——有一个衣衫褴楼的孩子,他坐了一整天。
他是意大利的一个缩影:那么美丽,满脸微笑,但是极端穷苦。
他是又饥又渴,谁也不给他一个毫子。
天黑了的时候,这花园的门要关了,看守人就把他赶出来。
他站在亚尔诺河②的桥上,沉思了好久。
他望着星星——它们在他和这座美丽的大理石桥之间的水上闪耀着。
他向那个铜猪走去。
他半跪在地上,用双手抱着它的脖子,同时把小嘴凑到它亮光光的鼻子上去,喝了一大口新鲜水。
附近有几片生菜叶子和一两个栗子:这就是他的晚餐。
这时街上什么人也没有,只有他一个人。
他骑在铜猪的背上,腰向前弯,他长满了望发的头掘到这动物的头上。
在不知不觉之间,他就睡去了。
这是半夜。
铜猪动了一下。
于是他就听到它很清楚地说:“你这小家伙,骑稳啦,我可要开始跑了!”它就真的背着他跑起来了。
铜猪--安徒生童话

铜猪--安徒生童话铜猪--安徒生童话在佛罗伦萨城①里,离大公爵广场不远,有一条小小的横街,我想它是叫做波尔塔·罗萨。
在这条街上的一个蔬菜市场前面,有一只艺术性非常强的铜猪。
这个动物因为年代久远,已经变成了墨绿色。
一股新鲜清亮的水从它嘴里喷出来。
它的鼻子发着光,好像有人把它擦亮了似的。
事实上也是如此:成千上万的小孩子和穷人,常常用手抓住这动物的鼻子,把嘴凑上去喝水。
当你看到一个半裸着的天真孩子紧紧地抱着这只好看的动物,把鲜红的嘴唇凑到它的鼻子上的时候,这真是一幅美丽的图画。
无论什么人,一到佛罗伦萨来就很容易找到这块地方。
他只须问一声他所碰到的头一个乞丐,就可以找到这只古铜猪。
这是一个冬天的夜晚,夜深了。
山上都盖满了雪;可是月亮还在照着,而且意大利的月光,跟阴惨惨的北欧冬天的日光比起来,也不见得有什么逊色。
不,比那还要好,因为空气在发着光,使人感到轻快;而在北欧呢,那种寒冷、灰色、像铅一样的阴沉气氛,把我们压到地上——压到又寒又湿的、将来总有一天会埋葬我们的棺材的地上。
在公爵的花园里,在一片松树林下面——这儿有一千株玫瑰在冬天开着花——有一个衣衫褴楼的孩子,他坐了一整天。
他是意大利的一个缩影:那么美丽,满脸微笑,但是极端穷苦。
他是又饥又渴,谁也不给他一个毫子。
天黑了的时候,这花园的门要关了,看守人就把他赶出来。
他站在亚尔诺河②的桥上,沉思了好久。
他望着星星——它们在他和这座美丽的大理石桥之间的水上闪耀着。
他向那个铜猪走去。
他半跪在地上,用双手抱着它的脖子,同时把小嘴凑到它亮光光的鼻子上去,喝了一大口新鲜水。
附近有几片生菜叶子和一两个栗子:这就是他的晚餐。
这时街上什么人也没有,只有他一个人。
他骑在铜猪的背上,腰向前弯,他长满了望发的头掘到这动物的头上。
在不知不觉之间,他就睡去了。
这是半夜。
铜猪动了一下。
于是他就听到它很清楚地说:“你这小家伙,骑稳啦,我可要开始跑了!”它就真的背着他跑起来了。
《铜猪》读后感_初一作文

《铜猪》读后感
在佛罗伦斯城,大公爵广场附近的一条街里,有一支雕塑的非常逼真的铜猪,从猪的嘴里可以冒出洁净的水。
有一天晚上,一个又饿又累的小男孩来这里喝水,过不久便趴在铜猪身上,到了半夜,铜猪忽然带着小男孩到各地游玩,直到快天亮。
这时他走回家,他妈妈问小男孩有没有讨到东西,当男孩说没有时,妈妈对他又踢又骂,把他赶出家门,不久小男孩被一户缝手套的人收养,他们家养一只毛被剃光的小狗,男孩每天都逗着狗玩,直到有一天,他看到大画家所画的铜猪,他便开始画画,最后成了有名的大画家。
我觉得这个故事很吸引人,词句描写的又很好,很值得大家来欣赏。
作者把一只铜所雕塑的猪拟人化,让他能在夜间活动,带着小孩子到处游玩,我好希望我也可以坐在那之铜猪上,在夜里到处活动。
在现在的世界里有很多小孩子像故事里的人物一样,非常贫穷,没有爸爸,也没规定上学,十分可怜,我们应该去同情他帮助他,而不是去轻视他们,现在我才知道我有多幸福,不但有爸爸妈妈,还可以去上学,我一定要好好珍惜。
1
————来源网络整理,仅供供参考。
初一读后感:《铜猪》读后感

《铜猪》读后感
在佛罗伦斯城,大公爵广场附近的一条街里,
有一支雕塑的非常逼真的铜猪,从猪的嘴里可
以冒出干净的水。
有一天晚上,一个又饿又累
的小男孩来这里喝水,过不久便趴在铜猪身上,到了半夜,铜猪突然带着小男孩到各地游玩,
直到快天亮。
这时他走回家,他妈妈问小男
孩有没有讨到东西,当男孩说没有时,妈妈对
他又踢又骂,把他赶出家门,不久小男孩被一
户缝手套的人收养,他们家养一只毛被剃光的
小狗,男孩每天都逗着狗玩,直到有一天,他
看到大画家所画的铜猪,他便开始画画,最后
成了有名的大画家。
我觉得这个故事很吸引人,词句描写的又很好,很值得大家来观赏。
作者把一只铜所雕塑的猪
拟人化,让他能在夜间活动,带着小孩子到处
游玩,我好希望我也可以坐在那之铜猪上,在
夜里到处活动。
在现在的世界里有很多小孩子像故事里的人物一样,非常贫穷,没有爸爸,也没办法上学,十分可怜,我们应该去同情他帮助他,而不是去轻视他们,现在我才知道我有多幸福,不但有爸爸妈妈,还可以去上学,我一定要好好珍惜。
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铜猪
在佛罗伦萨城①里,离大公爵广场不远,有一条小小的横街,我想它是叫做波尔塔·罗萨。
在这条街上的一个蔬菜市场前面,有一只艺术性非常强的铜猪。
这个动物因为年代久远,已经变成了墨绿色。
一股新鲜清亮的水从它嘴里喷出来。
它的鼻子发着光,好像有人把它擦亮了似的。
事实上也是如此:成千上万的小孩子和穷人,常常用手抓住这动物的鼻子,把嘴凑上去喝水。
当你看到一个半裸着的天真孩子紧紧地抱着这只好看的动物,把鲜红的嘴唇凑到它的鼻子上的时候,这真是一幅美丽的图画。
无论什么人,一到佛罗伦萨来就很容易找到这块地方。
他只须问一声他所碰到的头一个乞丐,就可以找到这只古铜猪。
这是一个冬天的夜晚,夜深了。
山上都盖满了雪;可是月亮还在照着,而且意大利的月光,跟阴惨惨的北欧冬天的日光比起来,也不见得有什么逊色。
不,比那还要好,因为空气在发着光,使人感到轻快;而在北欧呢,那种寒冷、灰色、像铅一样的阴沉气氛,把我们压到地上——压到又寒又湿的、将来总有一天会埋葬我们的棺材的地上。
在公爵的花园里,在一片松树林下面——这儿有一千株玫瑰在冬天开着花——有一个衣衫褴楼的孩子,他坐了一整天。
他是意大利的一个缩影:那么美丽,满脸微笑,但是极端穷苦。
他是又饥又渴,谁也不给他一个毫子。
天黑了的时候,这花园的门要关了,看守人就把他赶出来。
他站在亚尔诺河②的桥上,沉思了好久。
他望着星星——它们在他和这座美丽的大理石桥之间的水上闪耀着。
他向那个铜猪走去。
他半跪在地上,用双手抱着它的脖子,同时把小嘴凑到它亮光光的鼻子上去,喝了一大口新鲜水。
附近有几片生菜叶子和一两个栗子:这就是他的晚餐。
这时街上什么人也没有,只有他一个人。
他骑在铜猪的背上,腰向前弯,他长满了望发的头掘到这动物的头上。
在不知不觉之间,他就睡去了。
这是半夜。
铜猪动了一下。
于是他就听到它很清楚地说:“你这小家伙,骑稳啦,我可要开始跑了!”它就真的背着他跑起来了。
这真是一次很滑稽的旅行。
他们先跑到大公爵广场上去。
背着那位大公爵塑像的大铜马高声地嘶鸣了一阵。
老市政府门框上的彩色市徽射出光来,像透亮的图案;米开朗基罗的“大卫”③在挥动掷石器④。
这些东西中有一种奇异的生命在搏动着!表现珀尔修斯⑤和萨比尼人的⑥被蹂躏的一系列的古铜像,不仅仅都有生命,而且还发出一阵死亡的叫声,在这个孤寂的、美丽的广场上震响。
铜猪在乌菲齐宫⑦旁的拱道下面停下来了——从前的贵族常常到这儿过狂欢节。
“骑稳啦!”这动物说,“骑稳啦,因为我们现在要上楼了。
”这小家伙一半儿高兴,一半儿吃惊,说不出一句话来。
他们走进一条很长的画廊。
这地方他很熟悉,因为他曾经来过。
墙上挂满了画;这儿还有许多全身像和半身像。
它们被最明亮的灯光照着,好像是在白天一样。
不过,当通到旁边房间的门打开的时候,那景象真是再美丽也没有了。
这孩子记得这儿的华丽景象,不过在今天夜里,一切更显得非凡地壮丽。
这儿立着一个可爱的裸体妇人,她是那么美,只有大自然和最伟大的艺术家才能把她创造出来。
她的美丽的肢体在轻柔地移动;她的脚下有海豚在跳跃;她的双眼射出永恒不朽的光芒。
世人把她叫作美第奇的“维纳斯”⑧。
她的两旁立着
许多大理石像——它们都被注人了生命的精灵。
这些都是美丽的裸体男子;有一个正在磨剑,因此他被叫做磨创人。
另一系列的雕像是一群搏斗的武士;斗士们都在磨剑,他们都要争取这位美的女神。
这孩子在这种壮观面前感到惊奇。
墙上射出种种的光彩,一切都有生命,都能动作。
维纳斯——现世的维纳斯像——丰满而又热情,正如提香⑨见到她时一样,显出双重的形象。
这真是一种奇观。
这是两个美丽女人的画像:她们娇美的、棵着的肢体伸在柔软的垫子上;她们的胸脯在起伏地动着,头也在动着,弄得浓密的馨发垂到圆润的肩上,同时那一双双乌黑的眼睛表示出她们炽热的内心。
不过没有任何一张画敢走出画框。
美的女神、斗士和磨创人留在自己的原位上,因为圣母、耶稣和圣约翰所射出的荣光,把他们罩住了。
这些神圣的画像已经不再是画像了,他们就是神本身。
从这一个回到那一个殿,是说不尽的光彩!是说不尽的美丽!这小家伙把这些东西全都看了,因为铜猪是一步一步地走过这些美和这些光。
下一幅画总是冲淡头一幅画的印象。
只有一幅图画在他的灵魂里面深深地生下了根,这是因为它里面有很多幸福的孩子——而这小家伙有一次在大白天里曾经对这些孩子点过头。
有许多人在这幅画面前漠不关心地走过,而这幅画却是一个诗的宝库。
它表现救世主走向地狱。
不过他周围的人并不是受难者,而是邪教徒。
这幅画是佛罗伦萨人安季奥罗·布龙切诺⑩绘的。
它里面最美的东西是孩子面上的表情——他们认为自己能走进天国的那种信心;有两个小家伙已经拥抱在一起,还有一个在对那个站在他下面的伸着手,似乎在说:“我要到天国去了!”年纪大的人都站在那儿犹疑,有的在希望,有的在主耶稣面前卑微地低着头。
这孩子把这幅画看得比任何画都久,铜猪静静地站在画的前面。
这时有一个低微的叹息声发出来了:它是从这幅画里发出来的呢,还是从这动物发出来的?小家伙对那些微笑着的孩子们高举起手来……于是铜猪就背着他跑出去了,一直跑出那个敞开着的大门。
“我感谢你和祝福你,你——可爱的动物!”小家伙说,同时把铜猪拍了几下。
它就砰!砰!跳下了台阶。
“我也感谢你和祝福你!”铜猪说。
“我帮助了你,你也帮助了我呀,因为只有当一个天真的孩子骑在我背上的时候,我才能有力量跑动!是的。
你看吧,我还能走到圣母画像面前那盏灯的光亮下面去呢。
什么地方我都可以把你带去;只有教堂我不能进去!不过,只要你在我身上,我站在外面就可朝着敞开的大门看见里面的东西了。
请你不要从我的背上溜下来吧;因为如果你这样做,我就会停下来死掉,像你白天在波尔塔·罗萨看到我的那个样子。
”
“我不离开你,我亲爱的朋友!”小家伙说。
于是他们就以飞快的速度跑过佛罗伦萨的街道,一直跑到圣克鲁采教堂前面的广场上。
教堂的门自动地向两边开了,祭坛上的灯光射到教堂外面来,一直射到这孤独的广场上。