安徒生童话故事阅读

安徒生，丹麦19世纪著名童话作家，世界文学童话创始人，因为其童话作品而闻名于世。他通过童话的形式，真实地反映了他所处的那个时代及其社会生活，深厚地表达了平凡人的感情和意愿，从而使人们的感情得到净化与升华。下面本站小编为大家带来安徒生童话故事阅读，欢迎大家阅读!

　安徒生童话故事：癞蛤蟆

The well was deep, and therefore the rope was long; the wheel went around with difficulty when the waterfilled bucket had to be pulled up over the side of the well. The sun could never mirror itself down in the water, no matter how brightly it shone; but as far down as its rays penetrated, green weeds were growing from between the stones.

There was a family of toads living down there. It was an immigrant family which, as a matter of fact, had come down there headlong in the person of the old toad mother, who was still living. The green frogs that swam in the water had made their homes there for a much longer time, but they acknowledged their cousins and called them "well guests." The latter, however, had no thoughts of ever leaving, they found it very comfortable here on the dry land, as they called the wet stones.

Mamma Frog had once traveled; she'd been in the bucket when it had gone up, but the light above had been too strong for her and given her a frightful pain in the eyes. Luckily she had managed to get out of the bucket. She'd fallen into the water with a tremendous splash and been laid up for three days with a backache. She didn't have much to tell about the world above, but she did know, and so did all the others, that the well wasn't the whole world. Mamma Toad, on the other hand, might have told them a few things about it, but she never answered when anyone inquired, so they stopped inquiring.

"Big and ugly, fat and loathsome, she is!" said the young green frogs. "And her brats are getting to be just like her!"

"Maybe so," said Mamma Toad, "but one of them has a jewel in its head, if I don't have it myself!"

And the green frogs listened and stared at her, and as they didn't like this news, they made faces at her and dived down to the bottom. But the young toads stretched out their hind legs proudly. Each of them thought it was the one which had the jewel, so they all kept their heads quite rigid, but at last they began to ask what it was they had to be proud of and just what a jewel was, anyway.

"It's something so glorious and precious," said Mamma Toad, "that I can't describe it. It's something you wear for your own pleasure and others become irritated over. But ask no more, for I won't answer."

"Well, I haven't got the jewel," said the smallest Toad, which was as ugly as it could be. "Why should I have anything so splendid? And if it irritates others, why, it wouldn't please me. No, all I want is to get up to the top of the well sometime and take one peep out! It must be wonderful up there!"

"Better stay where you are," said the old Toad. "You're at home here, and you know what it's like. Keep away from the bucket, or it may squash you! And even if you did get safely into it you might fall out. Not everyone can come down as luckily as I did and keep limbs and eggs all safe and sound."

"Croak!" said the little one; and that was the same as when we humans say, "Oh!"

It had such a great desire to get up to the top of the well and look out; it felt an intense longing for the green things up there. And next morning, when the bucket, filled with water, was being pulled up and happened to pause for an instant beside the stone where the Toad sat, the little creature quivered through and through and then jumped into the bucket. It sank to the bottom of the water, which soon was drawn up and emptied out.

"Phooie, what a nuisance!" said the man when he saw it. "That's the ugliest thing I've ever seen!" And then he kicked with his heavy wooden shoe at the Toad, which came close to being crippled, but managed to escape into the middle of some tall nettles. It saw stalk after stalk around it; it looked upward and saw the sun shining on the leaves, making them quite transparent.

For the Toad it was the same as it is for us when we come suddenly into a great forest, where the sun shines between leaves and branches.

"It's much prettier here than down in that well! You could stay here for your whole lifetime!" said the little Toad. It lay there for an hour; it lay there for two hours. "Now what could there be outside? Since I've come this far I might as well go farther." So it crept as fast as it could, until it came out into the road, where the sun shone on it; and then it was powdered with dust as it hopped across the road.

"Here one is really on dry land," said the Toad. "I'm getting almost too much of a good thing; it tickles right through me!"

Now it reached a ditch, where grew forget-me-nots and meadowsweet, while beyond it was a hedge of white thorn and elderbushes, with convolvulus creeping and hanging about it. What vivid colors there were to see here! And here flew a butterfly, too. The Toad thought it was a flower that had torn itself loose in order to get a better look at the world; that, of course, was very reasonable.

"If I could only move about like that!" said the Toad. "Croak! Oh! How glorious!"

For eight days and nights its remained by the ditch and felt no want of food. Then on the ninth day it thought, "Oh, forward." But was there anything more beautiful to be found anywhere? Perhaps a little toad or some green frogs; there had been a sound in the wind the night before which had seemed to indicate there were cousins in the neighborhood.

"It's wonderful to be alive! To come up out of that well and lie in the bed of nettles, to creep along and hop across the dusty road and rest in the wet ditch! But on, further forward! I must find frogs or a little toad; one can't do without companions, after all. Nature alone isn't enough for one!" And so it started its wanderings again.

In a field, it came to a large pond with rushes around it, and it went exploring in there.

"It's too wet for you in here, isn't it?" said the frog inside. "But you're quite welcome. Are you a he or a she? Not that it matters; you're equally welcome in either case."

And so it was invited to a concert that evening, a family concert, with a lot of gaiety and feeble voices; we all know that sort of affair. There were no refreshments, except free drinks - the whole pond, if they could drink it.

"Now I'll be traveling on," said the little Toad, which was always craving for something better.

It saw the stars twinkling, so large and so clear; it saw the new moon shine, and it saw the sun rise higher and higher.

"I think I'm still in a well, but a bigger well. I must get higher up! I feel a restlessness, a longing!" And when the moon was full and round, the poor creature thought, "I wonder if that is the bucket that's let down, and which I must hop into if I want to get higher? Or is the sun the big bucket? How large that is, and how bright! Why, it could hold all of us at once! I must watch for my chance! What a brightness there is in my head! I don't believe the jewel could shine more brightly. But I don't have the jewel, and I shall not cry for it. No; still higher in brightness and happiness! I feel confidence and yet fear. It's a hard step to take, but I must take it. On, further forward! Right on down the road!"

Then it moved along in leaps, as indeed such a creature can, until it reached the highway where humans lived. Here were both flower gardens and vegetable gardens. It stopped to rest by a cabbage garden.

"How many different beings there are that I've never known of! And how great and blessed the world is! But you must keep looking about you, instead of always sitting in the same place." And so it hopped into the cabbage garden. "How green it is here! How pretty it is here!"

"That I well know," said the Caterpillar on a cabbage leaf. "My leaf is the largest one here; it covers half the world, and the rest of the world I can do without!"

"Cluck! Cluck!" said somebody, and hens came hopping into the garden.

The first Hen was farsighted; she spied the worm on the curly leaf and pecked at it so that it fell to the ground, where it lay twisting and turning. The Hen looked at it first with one eye and then with the other, for she couldn't figure out what would become of that wriggling.

"It isn't doing that of its own accord," thought the Hen, and she raised her head to strike again. Whereupon the Toad became so frightened that it bumped right into the Hen.

"So that thing has auxiliary troops to fight for it!" she said. "Just look at that vermin!" Then the Hen turned away. "I don't care about that little green mouthful; it would only tickle my throat!" The other hens agreed with her, and so away they went.

"I got away from her with my wriggling," said the Caterpillar. "It's good to keep your presence of mind, but the hardest job is ahead - to get back up onto my cabbage leaf. Where is it?"

Then the little Toad came forward to sympathize. It was happy that its own ugliness had frightened away the Hen.

"What makes you think that?" asked the Caterpillar. "I wriggled away from her myself. You're indeed very unpleasant to look at! Let me get back to my own place. Now I can smell cabbage; I'm near my own leaf! There's nothing so beautiful as one's own. But I must get up higher."

"Yes, higher!" said the little Toad. "Higher up! It feels just as I do, but it isn't in a good humor today, because of its fright. We all want to get up higher!" And it looked up as high as it could.

A stork sat in his nest on the roof of the farmhouse; he clattered and the stork mother clattered.

"How high up they live!" thought the Toad. "If only I could get up there!"

In the farmhouse lived two young students; one was a poet, the other a naturalist. The one sang and wrote with gladness of all that God had created, as it was mirrored in his heart; he sang of it in short, clear, and rich, imposing verses. The other took hold of the creation itself, yes, and took it apart when it needed analyzing. He treated our Lord's work like a great piece of arithmetic; subtracted, multiplied, wanted to know it outside and inside, and to talk of it with intelligence, with complete understanding; and yet he talked of it with gladness and with wisdom. They were good, happy people, both of them.

"Why, there is a good specimen of a toad," said the Naturalist. "I must have it to preserve in alcohol!"

"You have two already," said the Poet. "Let it stay there in peace and enjoy itself."

"But it's so beautifully ugly!" said the other.

"If we could find the jewel in its head," said the Poet, "then I myself would give you a hand at splitting it open."

"The jewel!" said the other. "How well you know your natural history!"

"But isn't there something very splendid about the old folk legend that the toad, the ugliest of creatures, often has hidden in its head the most precious of jewels? Isn't it much the same with people? Wasn't there a jewel like that hidden in Aesop, and Socrates, too?"

The Toad didn't hear any more, and hadn't understood half of what it had heard. The two friends went on, and it escaped being preserved in alcohol.

"They were talking about that jewel, too," said the Toad. "It's good that I don't have it; otherwise I would have got into trouble."

Then there was a clattering on the farmer's roof. Father Stork was giving a lecture to his family, and they were all looking down askance at the two young men in the cabbage garden.

"A human being is the most conceited of creatures," said the Stork.

"Hear how they go on jabbering, and yet they can't even make as much noise as a rattle! They crow over their eloquence, their language! A fine language that is! It becomes more unintelligible even to them with each day's journey. We can speak our language the whole world over, in Denmark or in Egypt. As for flying, they can't do that at all. They crawl along by means of an invention they call a railway, but there they often get their necks broken. I get the shivers in my bill when I think of it! The world can exist without people. We could well do without them. May we only have frogs and earthworms!"

"My, that was a powerful speech!" thought the little Toad. "What a great man he is, and how high he sits up there! I never saw anyone that high before. And how well he can swim!" it exclaimed, for just then the Stork soared off into the air on outstretched wings.

And then Mother Stork talked in the nest. She told about the land of Egypt and the water of the Nile, and of all the wonderful mud there was to be found in foreign countries; it sounded entirely new and charming to the little Toad.

"I must get to Egypt!" it said. "If only the Stork would take me along, or if one of its youngsters would. I would do the little one some favor in turn, on his wedding day. Yes, I'll get to Egypt, because I'm lucky! All the longing and yearning I feel is surely better than having a jewel in one's head."

And still it had the true jewel! That eternal longing and desire to go upward, ever upward, was the jewel, and it shone within the little Toad, shone with gladness, shone brightly.

At that very moment the Stork came. He had seen the Toad in the grass, and now he swooped down and, not very gently, siezed the little creature. His bill pinched, and the wind whistled; this was anything but comfortable. But still the Toad was going upward, and off to Egypt, it knew; therefore its eyes brightened until it seemed as if a spark shot out from them.

"Croak! Oh!"

The body was dead; the little Toad had been killed. But the spark from its eyes - what became of that?

The sunbeam caught it up and bore away the jewel from the head of the Toad. Where?

You should not ask the Naturalist; rather ask the Poet. He'll tell it to you as a fairy tale; and the Caterpillar will be in it, and the Stork family will have a part in it. Just think - the Caterpillar will be changed into a beautiful butterfly. The Stork family will fly over mountains and seas to faraway Africa and yet find the shortest way home again to the land of Denmark, to the same village, to the same roof! Yes, it's all almost too much like a fairy tale, and still it is true! You may well ask the Naturalist about that; he'll have to admit it; and yet you know it yourself, for you've witnessed it.

But the jewel in the head of the Toad? Look for it in the sun; look at it if you can.

The brightness is too great. We have not yet eyes that can look directly at all the glories God has created, but someday we shall have them, and that will be the most beautiful fairy tale of all, for we ourselves shall have a part in it.

　　安徒生童话故事：姑妈

You ought to have known Aunty; she was so lovely. And yet, to be more specific, she wasn't lovely in the usual sense of the word, but she was sweet and charming and funny in her own way - just the type to gossip about when one is in the mood to gossip and be facetious over someone. She should have been put in a play, just because she herself simply lived for the theater and everything that goes on in it. She was so very respectable, even if Agent Nob, whom Aunty called Snob, said she was stage-struck.

"The theater is my schoolroom," she said, "my fountain of knowledge. There I have brushed up on my old Biblical history. Take Moses, for instance, or Joseph and His Brethren - they're operas now. It is from the theater that I've gained my knowledge of world history, geography, and human nature. I've learned about Parisian life from French farces - it's naughty, but very interesting. How I have cried over The Riquebourg Family - to think that the husband had to drink himself to death just so his wife could get her young sweetheart! Ah, yes, many's the tear I've shed in the fifty years I've been going to the theater!"

Aunty knew every play, every piece of scenery, every actor who came on or ever had come on. She really only lived during the nine months of the theatrical season. A summer without a summer stock company was enough to age her, while an evening at the theater that lasted till past midnight prolonged her life. She didn't say, as people did, "Now we will have spring; the stork has come!" or, "There's an item in the paper about the early strawberries!" Instead, she announced the coming of autumn, "Have you seen that the box office is open? They'll begin the performances soon!"

She reckoned the value of a house and its location by its distance from the theater. She was heartbroken to have to leave the narrow alley behind the theater and move to a wide street a little farther away, and live in a house where there were no neighbors opposite her.

"At home my window must be my box at the theater. You can't sit by yourself without ever seeing people. But where I live now, it seems as if I've moved way out into the country. If I want to see people, I have to go into the kitchen and climb up onto the sink. That's the only way I can see my neighbors. Now, in that old alley of mine I could look right into the linen dealer's, and then I was only three steps from the theater; now I am three thousand steps away - a guardsman's steps, at that!"

Aunty might sometimes be ill, but however badly she happened to feel, she never missed the theater. One evening her doctor ordered her to put her feet in sour-dough poultices; she did as he told her, but rode off to the theater and sat there with her feet in sour dough. If she had died there it would have pleased her. Thorvaldsen died in the theater; and she called that "a blessed death."

She could not imagine heaven if there were no theater there; indeed, it was never promised to us, but it surely was conceivable that the many great actors and actresses who had gone on before would want to continue their work.

Aunty had her own private wire from the theater to her room; and the "telegram" came every Sunday for coffee. Her private wire was Mr. Sivertsen, of the stage-setting department. It was he who gave the signal for the raising and lowering of the curtain, the setting or striking of the scenery.

From him she received a brief, expressive report of each of the plays. Shakespeare's Tempest he called "detestable stuff - there's so much to set up! Why, it begins with water down to the first side drop!" That is to say, the rolling billows extended far forward on the stage. On the other hand, if a play could go through five acts in one and the same set, he said it was sensible and well written; it was a play of rest that could play itself, without all that setting up to do.

In the earlier days, Aunty recalled, meaning some thirty-odd years back, when she and Mr. Sivertsen were indeed much younger, he was then already in the mechanical department, and, as she called him, her "benefactor." At that time it was customary at the town's big and only theater to admit spectators into the cockloft; every stage carpenter had one or two places to dispose of. It was often filled to capacity, and with a very select company; it was said the wives of generals and councilmen had been there, because it was so interesting to look down behind the scenes and see how the performers stood and moved when the curtain was down.

Aunty had been there several times, to tragedies and ballets, for the productions requiring the largest casts were the most interesting to watch from the loft. You sat up there in almost complete darkness, and most people brought their suppers with them. But once three apples and a package of sandwiches filled with sausage fell straight down into the prison where Ugolino was about to die of hunger! The sausage produced a tremendous effect. The audience laughed and cheered, and the sausage was one of the main reasons why the management decided to forbid admission to the cockloft.

"But still I've been there thirty-seven times," said Aunty. "And for that I shall always be grateful to Mr. Sivertsen."

On the last evening that the cockloft was open to the public, they were giving The Judgment of Solomon. Aunty could remember it so well, for from her benefactor, Mr. Sivertsen, she had obtained a ticket for Agent Nob. Not that he deserved it, for he always made fun of the theater and teased her about it, but still she had got him a seat in the cockloft. He wanted to look at the goings-on in the theater upside down. "Those were his very words, and just like him," said Aunty.

And so he saw The Judgment of Solomon from above, and fell asleep. One would surely have thought that he had come from a big dinner and had drunk many toasts. He slept until after the theater was locked up and had to spend the whole dark night up in the loft. He had a story to tell of his waking up, but Aunty didn't believe a word of it. The Judgment of Solomon was played out, the lights were out, and all the people were out, above and below; but then began the epilogue, the real comedy, the best thing of all, according to the agent. Then life came into the properties, and it wasn't The Judgment of Solomon that was given now; no, it was Judgment Day at the Theater. All this Agent Nob impudently tried to cram into Aunty; that was her thanks for getting him into the cockloft.

The story the agent told was amusing enough to hear, but there were mockery and spite behind it.

"It was very dark up there," said the agent, "but then the witchery began, the great spectacle, Judgment Day at the Theater. Ticket takers were at the doors, and every spectator had to show his spiritual testimonial, to decide whether he could enter free or handcuffed, and with or without a muzzle. Fine society people, who came too late, after the performance had begun, and young fellows who wasted their time were hitched outside. There they were muzzled, and had felt soles put under their shoes, to walk in on in time for the beginning of the next scene. And then they began Judgment Day at the Theater.

"Purely wickedness," said Aunty, "which our Lord knows nothing about!"

Had the scene painter wanted to get into heaven he would have had to climb up some stairs he had painted himself but which were too steep for anybody to use. That, of course, was because of his sin against perspective. The stage carpenter who had placed the plants and buildings in lands where they didn't belong had to move them into their proper places before cockcrowing time, if he expected to go to heaven. Mr. Nob would have to watch his own chances of getting there! And to hear what he said about the actors, both in comedy and tragedy, or in song and dance - why, it was shameful of Mr. Nob! Mr. Nob! He never deserved his place in the cockloft! Aunty didn't believe a word of what he said. He had written it all out, he said - the snob! - and would have it printed, but not until he was dead and buried, since he had no wish to be skinned alive.

Only once had Aunty known terror and anguish in her own temple of happiness, the theater. It was one of those gray winter days when we have only two hours of foggy daylight; it was cold and snowing, but Aunty was bound for the theater. They were giving Hermann von Unna, besides a little opera and a grand ballet, with prologue and epilogue - it would last well into the night. Aunty had to be there; her lodger had lent her a pair of sleigh boots, shaggy both outside and inside, that reached all the way up her legs.

Aunty arrived at the theater and was seated in a box; the boots felt warm, so she kept them on. Suddenly there arose the cry of "Fire!" as smoke rolled from one of the wings and down from the cockloft! There was a fearful panic, and people stormed out. Aunty was sitting farthest from the door - "second tier, left - hand side; from there the decorations look best," she said. "They always arrange them so they will look the prettiest from the King's side of the house." Now she wanted to get out of there, but the excited people in front of her thoughtlessly slammed and jammed the door shut. There was Aunty, with no way out and no way in, for the partitions between the boxes were too high. She called for help, but nobody heard her. When she looked over at the tier beneath, she saw it was empty; the balustrade was low; and the drop wasn't very far. Her fright made her feel young and active, so she prepared to jump. She got one foot on the seat and the other over the railing; there she sat astride, well draped in her flowered skirt, with one long leg dangling below, a leg in a huge sleigh boot. That was a sight to see! And it was seen, when finally her cries were heard; and then she was easily rescued, for the fire didn't amount to much.

That was the most memorable evening of her life, she said, and she was glad she hadn't seen herself, for she would have died of shame!

Her benefactor in the mechanical department, Mr. Sivertsen, came to see her regularly every Sunday. But it was a long time between Sundays. So in later years, in the middle of the week, a small child would come to her for the "leavings"; that is, to get her supper from the remains of Aunty's dinner.

This little child was a member of the ballet who really needed the food. She played the roles of a page or a fairy, but her hardest part was the hind legs of the lion in Mozart's Magic Flute. She eventually grew up to become the front legs, but for this she was paid only three marks, while as the hind legs she had received one rix-dollar. She had had to creep about as the hind legs, stooping, panting for fresh air. This was very interesting to know, thought Aunty.

Aunty deserved to have lived as long as the theater itself, but she couldn't hold out that long; nor did she die in the theater, but quietly and decently in her own bed. Her dying words were full of significance; she asked, "What are they playing tomorrow?"

She must have left about five hundred rix-dollars; we came to that conclusion from the yearly rental, which amounted to twenty rix-dollars. The money was left by Aunty as a legacy for some deserving old spinster who had no family. It was to be used for a seat in the second tier, left side, every Saturday, for that was when they gave the best plays. There was only one condition imposed on the legatee. As she sat in the theater every Saturday, she was to think of Aunty lying in her grave.

This was Aunty's religion.

　　结束语：

安徒生运用童话的形式诉说着他的爱、他对世事的洞察以及对生命的追问，他填补了全世界孩子童年的梦境，向他们传递了现实世界的真善美，以上的安徒生经典童话故事希望大家喜欢!