渔夫和恶魔经典童话

渔夫和恶魔经典童话（共3篇）

篇1：渔夫和恶魔经典童话

渔夫和恶魔寓言故事

大海边，一个老渔夫以打鱼为生。一天，他在海边捕鱼，第一网网上一条死驴，第二网网上一个装满泥沙的瓦缸，第三网打起来的是一些破骨片、碎玻璃和贝壳。老渔夫很着急，立刻跪下祈祷，请求神仙保佑，能捕到大鱼。第四网下去，打上的却是一个铜瓶，上面有锡封。渔夫惊奇地拿起铜瓶。他想看看里面有什么东西，立刻抽出小刀撬开封口。不料，一股青烟从瓶子冒出来，飘向天空。青烟很快凝聚在一起，变成了一个丑陋的`魔鬼。魔鬼指指老渔夫，大声说：

“是你救了我?好吧，我就把你杀了!”

“岂有此理!”老渔夫叫道，“我救你，你为什么还杀我?”

“为什么?好吧，我就把我的故事告诉你!”魔鬼说。

原来，魔鬼是无恶不作的天神。大圣苏里曼要惩罚他，就把他活捉，关进铜瓶里，加上封印，投进大海。在深深的海底，魔鬼想：

“这时，谁能救我，我一定送给他无数财宝!”

可是，四百年过去了，没有人救魔鬼。

魔鬼发誓说：“从此以后，谁救我，我杀谁!”

渔夫听完魔鬼的故事，哈哈大笑。他指着魔鬼说：

“你真会撒谎!这么一个小小铜瓶，怎么能容得了你这么大的身体呢?”

“你不相信?”魔鬼说，“好吧，我变给你看!”说着，魔鬼立刻化作青烟一缕，慢慢地钻进瓶里。

渔夫立刻拾起瓶塞，紧紧盖上，又粘上锡封口。“放我出来!”魔鬼大叫。

“无耻的魔鬼!”渔夫说，“我要告诉所有的人，决不能救你!永远不放你出来!”

说罢，渔夫把铜瓶抛进大海。

篇2：渔夫和恶魔经典童话

从前有个老头儿和他的老太婆，住在蓝色的大海边;他们住在一所破旧的泥棚里整整有三十又三年。

老头儿撒网打渔，老太婆纺纱结线。

有一次老头儿向大海撒下鱼网，拖上来的只是些水藻。

接着他又撒了一网，拖上来的是一些海草。

第三次他撒下鱼网，却网到一条鱼儿，不是一条平常的鱼——是条金鱼。

金鱼竟苦苦哀求起来!

她跟人一样开口讲：“放了我吧，老爷爷，把我放回海里去吧，我给你贵重的报酬，为了赎身，你要什么我都依。”

老头儿吃了一惊，心里有点害怕，他打渔打了三十三年，从来没有听说过鱼会讲话。

他把金鱼放回大海，还对她说了几句亲切的话：

“金鱼，上帝保佑!我不要你的报偿!你游到蓝蓝的大海去吧，在那里自由自在地游吧。”

老头儿回到老太婆跟前，告诉她这桩天大的奇事：

“今天我网到一条鱼，不是平常的鱼，是条金鱼;这条金鱼会跟我们人一样讲话。她求我把她放回蓝蓝的大海，愿用最值钱的东西来赎她自己，为了赎得自由，我要什么她都依我不敢要她的报酬，就这样把她放回蓝蓝的海里。”老太婆指着老头儿就骂：“你这傻瓜，真是个老糊涂!不敢拿金鱼的报酬!哪怕要只木盆也好，我们那只已经破得不成样啦!”于是老头儿走向蓝色的大海，看到大海微微地起着波澜。老头儿就对金鱼叫唤，金鱼向他游过来问道：“你要什么呀，老爷爷?”

老头儿向她行个礼回答：“行行好吧，鱼娘娘，我的老太婆把我大骂一顿，不让我这老头儿安宁。

她要一只新的木盆，我们那只已经破得不能再用。”金鱼回答说：“别难受，去吧，上帝保佑你。

你们马上会有一只新木盆。”

老头儿回到老太婆那儿，老太婆果然有了一只新木盆。老太婆却骂得更厉害：“你这傻瓜，真是个老糊涂!真是个老笨蛋，你只要了只木盆。木盆能值几个钱?滚回去，老笨蛋，再到金鱼那儿去。对她行个礼，向她要座木房子。”

于是老头儿又走向蓝色的大海(蔚蓝的.大海翻动起来)。老头儿就对金鱼叫唤，金鱼向他游过来问道：“你要什么呀，老爷爷?”老头儿向她行个礼回答：“行行好吧，鱼娘娘!老太婆把我骂得更厉害，她不让我老头儿安宁，唠叨不休的老婆娘要座木房。”金鱼回答说：“别难受，去吧，上帝保佑你。就这样吧：你们就会有一座木房。”

老头儿走向自己的泥棚，泥棚已经变得无影无踪，他前面是座有敞亮房间的木房，有砖砌的白色烟囱，还有橡木板的大门，老太婆坐在窗口下，指着丈夫破口大骂：“你这傻瓜，十十足足的老糊涂!老混蛋，你只要了座木房!快滚，去向金鱼行个礼说：“我不愿再做低贱的庄稼婆，我要做世袭的贵妇人。”

老头儿走向蓝色的大海(蔚蓝的大海骚动起来)。老头儿又对金鱼叫唤，金鱼向他游过来问道：

“你要什么呀，老爷爷?”老头儿向她行个礼回答：“行行好吧，鱼娘娘!老太婆的脾气发得更大，她不让我老头儿安宁。她已经不愿意做庄稼婆，她要做个世袭的贵妇人。”金鱼回答说：“别难受，去吧，上帝保佑你。”

老头儿回到老太婆那儿。他看到什么呀?一座高大的楼房。他的老太婆站在台阶上，穿著名贵的黑貂皮坎肩，头上戴着锦绣的头饰，脖子上围满珍珠，两手戴着嵌宝石的金戒指，脚上穿了双红皮靴子。勤劳的奴仆们在她面前站着，她鞭打他们，揪他们的额发。老头儿对他的老太婆说：

“您好，高贵的夫人!想来，这回您的心总该满足了吧。”老太婆对他大声呵叱，派他到马棚里去干活。过了一星期，又过一星期，老太婆胡闹得更厉害，她又打发老头到金鱼那儿去：“给我滚，去对金鱼行个礼，说我不愿再做贵妇人，我要做自由自在的女皇。”老头儿吓了一跳，恳求说：“怎么啦，婆娘，你吃了疯药?你连走路、说话也不像样!你会惹得全国人笑话。”老太婆愈加冒火，她刮了丈夫一记耳光。“乡巴佬，你敢跟我顶嘴，跟我这世袭贵妇人争吵?——快滚到海边去，老实对你说，你不去，也得押你去。”

老头儿走向海边(蔚蓝的大海变得阴沉昏暗)。他又对金鱼叫唤，金鱼向他游过来问道：“你要什么呀，老爷爷?”老头儿向她行个礼回答：“行行好吧，鱼娘娘，我的老太婆又在大吵大嚷：

她不愿再做贵妇人，她要做自由自在的女皇。”金鱼回答说：“别难受，去吧，上帝保佑你。

好吧，老太婆就会做上女皇!”

老头儿回到老太婆那里。怎么，他面前竟是皇家的宫殿，他的老太婆当了女皇，正坐在桌边用膳，大臣贵族侍候她，给她斟上外国运来的美酒，她吃着花式的糕点，周围站着威风凛凛的卫士，肩上都扛着锋利的斧钺。老头儿一看——吓了一跳!连忙对老太婆行礼叩头，说道：“您好，威严的女皇!好啦，这回您的心总该满足了吧。”老太婆瞧都不瞧他一眼，吩咐把他赶跑。大臣贵族一齐奔过来，抓住老头的脖子往外推。到了门口，卫士们赶来，差点用利斧把老头砍倒。人们都嘲笑他：“老糊涂，真是活该!这是给你点儿教训：往后你得安守本分!”

过了一星期，又过一星期，老太婆胡闹得更加不成话。她派了朝臣去找她的丈夫，他们找到了老头把他押来。老太婆对老头儿说：“滚回去，去对金鱼行个礼。我不愿再做自由自在的女皇，我要做海上的女霸王，让我生活在海洋上，叫金鱼来侍候我，听我随便使唤。”

篇3：渔夫和恶魔经典童话

As a sub-genre of folklore,fairy tales were first recorded in12th–15th century and came into shape in the Christian era o patriarchy.Since the society entered the patriarchic dominance after a period of matriarchy,men have assumed control over every aspect of cultural life.Folklores,which reflect universa themes and concerns,are no exception.As Jack Zipes,a prolific and important writer on the genre,says:“folk and fairy tales share common roots with myth in their endeavor to explain natural occurrences and social customs”(qtd.in Sellers 12).And Susan Sellers,the author of Fairy Tales and the Arts of Subversion,also believes that fairy tales have the function to shape ou experience and understanding from our childhood years.When we think about the term“fairy tales”,we usually associate them with demeaned princesses,Princes Charming,and evil stepmothers,and often the stories are largely female-centered and female-targeted.They reflect the male dominant culture and serve not only as mere entertainment but also as one of culture's primary mechanisms to inculcate children---mostly girls---with the so-called appropriate roles and behaviors.In the process o reading,young girls are encouraged to identify themselves with the heroine,who is often a beautiful,degraded,obedient,and dependant maid passively waiting for her savior,usually a prince,to come and elevate her from her undeserved state.Subconsciously young girls may transfer the norms celebrated in fairy tales into real life cultural norms and take obedience,passivity,dependency,and sometimes even self-sacrifice as female cardinal virtues What's noteworthy is that the only women who have any sort o power in classic fairy tales are either wicked step-mothers o witches.These powerful,active,independent women have qualities which are not desirable for girls from a male's perspective and they will be eventually punished often by death through the hands of the saviors.In the same way,young boys are also influenced by fairy tales into believing that only certain qualities are important in women and they have to treat women as subordinate.They are in no way taught to treat women as equals or as significant Others,as Simone de Beauvoir describes in her book,The Second Sex,“she is not regarded as an autonomous being.[S]he is simply what man decrees…She is defined and differentiated with reference to man and not he with reference to her;she is the incidental,the inessential as opposed to the essential.He is the Subject,he is the Absolute–she is the Other”.

We will arrive at a better understanding of the above words through the following analysis of Grimm Brothers'“Snow White”,“Cinderella”and Andersen's“Little Mermaid”,all well-known classic fairy tales which have been handed down for generations.They are good transmitters of the patriarchy social norms.To examine these selected fairy tales from the perspective of modern feminism is to revisualize those typical types of female description which shape our ideas about the“virtues of the female”.In this way,it can clearly show how fairy tales maintain and consolidate the patriarchal status quo by making female subordination seem like the romantically desirable.

2 Study of Demon type of Female Characters in

In most classic fairy tales,the heroine is a beautiful,degraded,obedient,and dependant maid passively waiting for her savior.However,some women do have power and take actions on their will in fairy tales.They are attractive,independent,and master of their own lives,but they are not virtuous women in the common sense.They are most often wicked stepmothers or witches,known as demons.They are women who have the power of speech and they determine what they should do according to their own will.They pose as a threat to men,and therefore,men want to diminish them.This is also a warning given to young girls,telling them that woman should not be ambitious or hold any desire for power or honorable positions.For a woman to hold a position of influence is intolerable to men.

This type of character often appears in middle-aged,evil villainous,and sexual images in fairy tales,including the wicked step-mother in“Snow White”and“Cinderella”and the monstrous sea-witch in“The Little Mermaid”.They are powerfu women defined by their dark power and evilness.In“Snow White”,the queen was a beautiful woman who owned a magic mirror that would tell her who the most beautiful woman was in the world.In“Cinderella”,the stepmother“had beautiful and fair features but nasty and wicked hearts”(Grimm 93).In“Litte Mermaid”,although the sea witch was not physically attractive there were a lot of sexual implications about her.For example“[b]eyond this stood her house,in the centre of a strange forest in which all the trees and flowers were polypi,half animals and half plants;they looked like serpents with a hundred heads growing out of the ground...marshy ground in the wood,where large fat water-snakes were rolling in the mire,and showing their ugly drab-colored bodies...There sat the sea witch,allowing a toad to eat from her mouth,just as people sometimes feed a canary with a piece of sugar.She called the ugly water-snakes her little chickens,and allowed them to crawl all over her great spongy breasts”(Andersen 93).The images of serpent,snakes and toad all have sexual implications according to the traditional western culture.The serpent represents female sexual temptation which is attractive as well as destructive.The dark power is fatal to men Against the angel type's beauty,which is pure and not sexual a all,the demon's sexuality,like that of Medusa's head,is a destructive power to men.In both“Snow White”and“Cinderella”the stepmother enters the house and then she is in control of everything.The poor father just fades away ever after the entrance of the stepmother.He is unable to protect his little girl from the vicious stepmother.The older woman uses her overt sexuality to master everyone under the roof,especially the pre-adolescen former wife's orphan.As time passes by,the little orphan grows up and her sexuality is about to emerge.In“Snow White”,i says that“[i]n the meantime,Snow White grew up,and became more and more beautiful.By the time she was seven years old she was as beautiful as the day is clear and more beautiful than the queen herself.One day when the queen asked her mirror“Mirror,mirror,on the wall,who in this realm is the fairest o all?”The mirror said:“You,my queen,may have a beauty quite rare,but Little Snow White is a thousand times more fair.”The queen shuddered,yellow and green with envy.From that hour on her hate for the girl was so great that her heart throbbed and turned in her breast each time she saw Snow White.Like weeds the envy and arrogance grew so dense in her heart that she no longer had any peace,day or night”(Grimm 214).

From this excerpt,we can see the persecution of the adolescent stems directly from the new stepmother's sexual jealousies As beauty is a fundamental request for women,the princes in the fairy tales do not fall in love with the maiden until“she had washed herself and put on the beautiful clothing,she was as beautiful as a rose washed in dew”(Grimm 96).Beauty is,perhaps,the most powerful as well as the only weapon that women own.Being beautiful is the only way to make the prince fall in love with the maiden,and therefore,elevate her from the limbo and insignificance of her life.So when the adolescent's innocent beauty becomes a threat to the middle-aged woman's sexual beauty,she would do anything she can to be the fairest of all.In other words they are guilty of ambition,an attribute men dislike about women not to say that she also possesses the tool of being powerful(the magic mirror of the queen's and the witchcraft the sea witch owns)or in the position of being powerful(the stepmother's arbitrariness in the household).After the young maiden is maltreated by the wicked woman,men will appear to punish the wicked woman and at the same time,win the young girl's love as her savior.

From the tales of stepmothers and witches,young girls get the impression that beautiful,powerful women can not be trusted.Men let women doubt,challenge and fight among themselves.They diminish the strength of solidarity of women so that they can easily control each one.Another point can also explain why the middle-aged woman wants so badly to destroy the young girl but finally gets defeated by the prince.The young girl's maturation signals the aging stepmother's declining sexual attractiveness and control.In retaliation,the aging stepmothers jealously torment the more beautiful virgin adolescents who capture people's attention and affection and threaten their own position.Snow White's stepmother in Grimm's recounting plots against the seven-year-old child who"was as bright as the day,and fairer than the queen herself…was so beautiful,that she surpassed even the queen herself"(Grimm 214).The stepmother,who invariably appears odious,embodies the major obstacles against the adolescent‘s passage to womanhood because of her overt sexuality and authority.So the evil stepmothers must be overcome.

3 Conclusion

To sum up,all fairy tales reflect and help shape the culture of their nation and race.The ostensibly innocuous fairy tales send out basic patriarchal social prescriptions.They are not just entertaining fantasies,but powerful transmitters of patriarchal canon.Women are labeled by men into two types.The wicked middle-aged women in the fairy tales are the demon type.They are powerful,attractive,independent,and able to master others.These attributes make them repulsive in a man's eyes.So without exception,the demon type is portrayed as immoral and evil by nature.The demon's sexuality has a destructive power to men,so she poses a threat to the men,as a woman holding a position of influence is wrong in a patriarchal society.Therefore,men want to diminish them and do this in a killing two birds with one stone way.The young prince always appears in time to end the stepmother's persecution of the young maiden and plays the role of a savior as well as the role of the power-defender.This is also a warning given to young girls,implicating to them that woman should not be ambitious or desire for power.These“musts”and“must nots”will certainly help us better understand the classic fairy tales and lead us to the discovery of more stereotypes about female suppression and to a fuller awareness of women's position and value in the century-old patriarchy culture.

摘要：作为民间传说的一种,经典童话承载着男权社会的道德标准和社会习惯。根据女权主义作家西蒙娜·德·波伏娃的理论,经典童话中的女性形象被分成两种典型:天使形象和恶魔形象。该文着重描述了恶魔形象的特点,以及男性对这种形象的排斥和诋毁。经典童话中恶魔形象的代表往往最终被击败,使得男性获得安全感进而达到维护稳固男权社会的目的。

关键词：经典童话,女性形象,西蒙娜·德·波伏娃,女权主义

参考文献

[1]Andersen,Hans.Hans Andersen's Fairy Tales[A]A Selection.Trans.L.W.Kingsland.Beijing:Foreign Language Teaching and Research Press,1996.

[2]Grimm,Jakob,Wilhelm Karl.The Complete Fairy Tales of the Brothers Grimm[M].Trans.John B.Gruelle.New York:Bantam,1988.

[3]Rowe E.Karen.“Feminism and Fairy Tales”[EB/OL].[2006-05-12].<http://www.broadviewpress.com/tale/printable/femi-nism.htm>.

[4]Sellers,Susan.Myth and Fairy Tales in Contemporary Women's Fiction[M].New York:Palgrave,2001.