心靈美文_童話，剪不斷的情結(jié) How Fairy Tales Shape Our Lives

看盡繁華,才懂淡然;經(jīng)歷磨礪,才得從容;讀懂人心,才知隨緣。夜深人靜的時(shí)候，聆聽來自心靈的呼喚。走進(jìn)心靈，體會(huì)初衷。以下是聽力課堂小編整理的心靈美文_童話，剪不斷的情結(jié) How Fairy Tales Shape Our Lives的資料，希望你會(huì)喜歡!

　　主題札記
　　我已經(jīng)過了做“公主夢(mèng)”的年齡。因而,我不會(huì)憧憬在夜深之時(shí)腳踩高跟鞋流連街頭,不期然地與“王子”四目相對(duì),然后注定一生被羈絆;也不會(huì)幻想一覺醒來,自己從平凡的“丑小鴨”變身為高貴的“白天鵝”;更不會(huì)奢望當(dāng)自己身陷囹圄之時(shí),有“獵人”仗義相助,逃出生天。有時(shí)候,重看自己昔日喜愛不已的童話故事,我仿佛置身于人工搭建而成的森林公園,一草一木都經(jīng)過精心打造,而我對(duì)“綠色海洋”的想象也不復(fù)存在。有多少秘密潛藏在小紅帽披著的斗篷之下?有多少故事隱藏在囚禁長(zhǎng)發(fā)公主的高塔之中?
　　我們?cè)?jīng)深信城堡里住著公主,那里衣香鬢影,如詩如畫,她與王子“永遠(yuǎn)幸福地生活在一起”。然而歲月告訴我們,她只是一個(gè)打雜的小女孩,最終給予她波瀾不驚的愛情,并陪她看透流年風(fēng)景的竟是一名笨笨的騎士。而這就是生活。
　　原來,城堡里沒有公主。
　　——Mac

 文字難度：★★★
　　
　　When the people of 1)Hamelin, Germany had a problem with rats, they called the 2)Pied Piper. With his 3)bewitching pipe and enchanting music, he lured the rats away from the city and into a watery grave. But when the people of Hamelin refused to pay the Pied Piper what they had promised, he turned his 4)entrancing music on their children, leading them away to never be seen again. This key moment in a familiar fairy tale carries many insights. It is, at once, a commentary on social values, a vivid example of family tragedy, and a bit of personal psychology. Folklore is 5)compacted wisdom-literature that yields more information with each reading.
　　當(dāng)?shù)聡?guó)哈默爾恩的人們遇上鼠疫的難題,他們請(qǐng)來了一個(gè)花衣魔笛手。借助其魔笛的迷人樂聲,他把老鼠引出城,引進(jìn)水里淹死。但當(dāng)哈默爾恩的人們拒絕兌現(xiàn)承諾——向魔笛手支付報(bào)酬時(shí),魔笛手轉(zhuǎn)而向他們的孩子們奏起迷樂,引孩子們出走,不再出現(xiàn)。在這個(gè)耳熟能詳?shù)耐捁适吕?這一關(guān)鍵的情節(jié)隱含著很多深層的東西。它既反映出社會(huì)價(jià)值觀,又鮮活地展現(xiàn)了某種家庭悲劇,還呈現(xiàn)了一點(diǎn)個(gè)人心理。民間故事是一種濃縮的智慧文學(xué),每看一次都能獲取更多信息。
　　
　　There is much we can learn by reflecting on the stories heard in childhood. Magical characters are likely to remain in the imagination for a lifetime. Fairytale is a sub-6)genre of folktale, something that is handed down from person to person for generations; one of the most important identifying features of a folktale is that it belongs to an entire culture, rather than to an individual. That is why folktales give us many insights into the cultures from which they spring.
　　通過回想童年里聽過的故事,我們可以從中學(xué)到很多東西。種種奇幻人物角色很可能會(huì)一輩子留在我們的想象空間里。童話故事是民間故事下面的一個(gè)分支流派,口耳相傳,代代流傳。民間故事最重要的特征之一是它是某種文化共有的,而非屬于個(gè)人。這就是民間故事能讓我們深入了解其文化淵源的原因所在。
　　
　　My own first hearing of many of the old stories was in the places where they originated. Throughout my childhood our family would travel abroad for several months every few years. There were six children. My parents came up with an 7)ingenious and life-changing idea: have us study the local tales. When we were in Denmark, we visited the home of 8)Hans Christian Andersen, and discussed his stories, such as The Little Mermaid. In Germany, we went to the village of Hamelin, where the tale of the Pied Piper takes place. In 9)Baghdad, it was Arabian Nights. In the temples of India and Japan, the tales of Asia came to life.Seeing how the adventures reflected their settings and how the stories are still alive in those places was a powerful experience.
　　我初次接觸到那些源遠(yuǎn)流長(zhǎng)的童話故事,很多都是在故事的起源地。在我的整個(gè)童年時(shí)期里,我們一家隔幾年就會(huì)出國(guó)旅行好幾個(gè)月。家里有六個(gè)孩子。我們的父母想到了一個(gè)巧妙的主意,而這也影響了我們的一生,那就是讓我們學(xué)習(xí)當(dāng)?shù)貍髡f。當(dāng)我們?cè)诘湑r(shí),我們參觀了漢斯·克里斯蒂安·安徒生的故居,還對(duì)他寫的童話進(jìn)行了一番討論,比如《小美人魚》;在德國(guó),我們?nèi)チ斯瑺柖鞔濉ㄒ履У咽帜莻€(gè)童話的起源地;在巴格達(dá),我們研究童話《一千零一夜》;而在印度及日本的寺廟里,亞洲的童話故事躍然眼前。看著那段段冒險(xiǎn)如何反映其文化背景及那些童話如何依然在其起源地經(jīng)久不衰,那是種令人震撼的體驗(yàn)。
　　
　　Various people can imagine the tales quite differently. I had heard the stories before and had pictures in my mind about what the places looked like. When I saw, for example, the spot in Germany where the Pied Piper supposedly led the children away, it didn’t look exactly the same as I had imagined. In a way, noticing that difference made me aware of how our creativity works. It shaped my sense of the world.
　　不同的人對(duì)童話的想象是千差萬別的。我之前對(duì)那些故事早就有所聽聞,并在腦海里想象了一番故事發(fā)生地的景象。比如,當(dāng)我在德國(guó)看到那個(gè)按推測(cè)應(yīng)該是魔笛手引孩子出走的地方,它看上去和我之前想象的并非完全一致。在某種程度上,發(fā)現(xiàn)這種差異使我知道了我們的創(chuàng)造力是如何發(fā)揮作用的。它塑造了我對(duì)這世界的觀感。
　　
　　I later learned how these stories portray life issues in 10)miniature. These tales are psychological mirrors that can become more complex as we mature. Bedtime stories have enormous influence over our identities. People identify with certain characters in the stories they heard in childhood. To some degree, many live out these stories, largely unaware of how much the old tales may be shaping our lives.
　　我后來認(rèn)識(shí)到,這些故事其實(shí)就是生活的縮影。這些童話就是反映心理的鏡子,隨著我們成長(zhǎng)成熟,故事寓意變得愈發(fā)復(fù)雜。睡前故事對(duì)于我們的個(gè)性塑造影響巨大。人們認(rèn)同自己童年里聽到的故事中的某些人物。在某種程度上,很多人會(huì)按著這些故事的發(fā)展軌跡來生活,卻沒有意識(shí)到這些源遠(yuǎn)流長(zhǎng)的故事可能對(duì)我們?nèi)松乃茉炱鹬绱舜蟮淖饔谩?/P>

　　The story of the Pied Piper reminds us that every parent has to deal with letting go of their children and every former child has to cope with feelings about what it means to leave home. If we take the tale as a reflection of the inner landscape, we see that all the characters can represent aspects of our own personalities. The village leaders may symbolize a practical, 11)thrifty side that does not sufficiently appreciate our magical qualities or artistic abilities. If we cheat the imagination of appropriate time and resources, things may go badly. Creativity and play 12)engage the childlike energies that can leave us in a state of depression if they depart.
　　花衣魔笛手的故事提醒我們,每個(gè)父母都得面對(duì)放手讓孩子高飛的情況,而每個(gè)孩子都得品嘗到離家獨(dú)立的滋味。如果我們視童話為對(duì)內(nèi)心境況的映照,我們會(huì)看到所有的角色都代表著我們個(gè)性中的方方面面。村中的領(lǐng)導(dǎo)干部也許象征著我們現(xiàn)實(shí)而節(jié)儉的一面,這一面不會(huì)很欣賞我們那些不可思議的特性或藝術(shù)才能。如果我們“欺騙”了想象力,不予其適當(dāng)?shù)臅r(shí)間和資源來發(fā)展,事情可能會(huì)變?cè)恪?chuàng)造力和游戲玩耍這些活動(dòng)包含人們那孩童般旺盛的活力于其中,而如果這種活力消失,我們可能會(huì)陷入消沉狀態(tài)。
　　
　　Mythic stories make up a kind of collective dream that we all have together. If we want to understand our dreams, in many respects, we can look at these stories and study them. A talking animal in a story is often the voice of nature. Among other messages, we are being reminded that we are also animals. We are walking around in animal flesh. We sometimes forget this in our excessively mental, all too industrial culture. We are, first of all, animal creatures. We are not just visitors to nature, or merely 13)caretakers of nature. We are nature. Guiding animals are crucial in mythic stories. Psychologically, this might well represent the wisdom of the body. Meanwhile, 14)sinister or wicked characters may represent aspects of ourselves that have been neglected or rejected.
　　虛構(gòu)的故事拼湊出的是一種我們所有人共有的夢(mèng)想。如果我們想理解我們的夢(mèng)想,從許多方面來講,我們可以看看這些故事,好好研究一下。故事里會(huì)說話的動(dòng)物所發(fā)出的通常就是自然的聲音。在其傳達(dá)的其他信息當(dāng)中,它們提醒著我們,人類也同樣是動(dòng)物。我們以一副“皮囊”行走于世。置身于過度強(qiáng)調(diào)“精神世界”,全盤工業(yè)化的文化當(dāng)中,我們有時(shí)會(huì)忘記這一點(diǎn)——我們首先是動(dòng)物。我們不僅僅是偶爾走到自然里參觀游玩或?qū)ζ湔樟峡垂?。我們屬于自然。在虛?gòu)的故事中,起引導(dǎo)作用的動(dòng)物是關(guān)鍵角色。在心理學(xué)上,這也許很好地表現(xiàn)了肉身存在的智慧(編者注:這里意指會(huì)說話的動(dòng)物其實(shí)為人類的化身。因?yàn)槿祟愡^分關(guān)注其“社會(huì)性”而忽視了自身的“動(dòng)物性”,而這些會(huì)說話的動(dòng)物提醒了人們其“動(dòng)物性”,因此我們不能忽視其智慧)。同時(shí),邪惡或不道德的角色可能代表的是我們自身那些被忽略或被抹殺掉的方面。
　　
　　The ancient tales have their own lives, each with unique, 15)eccentric qualities. Part of the richness is that the same story will have different lessons for each listener. Stories can speak to us in several ways: The practical aspects of our personalities appreciate the assistance provided in prudent decision-making. Our playful energies find the stories to be great fun. The quiet, spiritual side is grateful to have some time invested in reflection. The effects of what we learn might last for a lifetime.
　　那些古老的故事有其各自的生命力,每個(gè)故事都有著獨(dú)特而怪異的特性。其豐富內(nèi)涵部分表現(xiàn)于同一個(gè)故事對(duì)于每個(gè)聽眾來說意味著不同的經(jīng)驗(yàn)教訓(xùn)。故事能通過好幾種途徑把信息傳達(dá)給我們:我們個(gè)性中現(xiàn)實(shí)的一面會(huì)感激在謹(jǐn)慎抉擇過程中來自別人的協(xié)助。我們頑皮的一面會(huì)感覺那些故事樂趣無窮。而我們安靜、靈性的一面則會(huì)因?yàn)橥度霑r(shí)間反思而收獲感動(dòng)。我們從童話故事里學(xué)到的東西其影響可能持續(xù)一生。

花衣魔笛手

    這是一個(gè)源自德國(guó)的民間故事，其最有名的版本收錄在格林兄弟的《德國(guó)傳說》中，名為《哈默
爾恩的孩子》。
    故事發(fā)生在1284年，德國(guó)一個(gè)名叫哈默爾恩的村落來了一個(gè)外地人，自稱是捕鼠能手。村民向他許諾，若能除去鼠患，就有重酬。于是他吹起笛子，鼠群聞聲隨行，被誘至威悉河淹死。事成后，村民卻背信棄義，拒絕給吹笛人報(bào)酬，吹笛人于是離開了。但是，數(shù)周后，正當(dāng)村民們?cè)诮烫镁奂畷r(shí)，吹笛人又回來了。他吹起笛子，孩子們聞聲隨行，被誘至一個(gè)山洞內(nèi)，最終因被困洞中而死。而該故事的另一個(gè)版本的結(jié)局是當(dāng)
村民給了吹笛人應(yīng)得的酬勞后，他才把被困的孩子放了出來。
    研究者相信該故事源于一起真實(shí)的歷史事件，但究竟是哪一事件，則眾說紛紜。一說那些孩子代表了當(dāng)時(shí)到東歐進(jìn)行殖民活動(dòng)的年青人；一說那些孩童代表了1212年的兒童十字軍。
    而在現(xiàn)今西方政治中，  “花衣魔笛手”經(jīng)常被用來指代那些只是空口許諾，但不兌現(xiàn)其承諾的政客。