霧都孤兒的寫作背景英語

① 霧都孤兒的英文背景

Charles DIckens's Oliver Twist

Oliver Twist: The Parish Boy抯 Progress

Charles Dickens created an astonishing collection of literary masterpieces each of which tightly grasped the attention of the audience. Dickens was able to maintain a writing schele that would have exhausted any other author. In slightly more than thirty years, Dickens published more than twenty novels, acted as editor for a variety of literary journals, created his own magazine, worked as a freelance reporter, and executed a series of charismatic public readings. His popularity established Dickens as one of the first 揷elebrities.?SPAN style="mso-spacerun: yes"> Crowds brimming with eager fans would accumulate as Dickens bellowed out the charming lines of his tantalizing novels. His significance and notoriety are still easily identified in contemporary literary cannons. Although his books sold and the audience waited on edge for the next installment of his works, Dickens was not given completely favorable reviews to every text.

Oliver Twist was begun in February 1837 and continued as monthly installments in Bentley抯 Miscellany until April of 1839. Dickens originally titled the novel Oliver Twist: The Parish Boy抯 Progress but it has since been shorten to simply Oliver Twist. Dickens finished writing the novel in the London of 1838 and the first edition of the novel was found on shelves in November of 1838. The novel falls into the genre of a children抯 detective story but the novel also contains an aspect of social protest as Dickens details the Poor Laws and workhouses. Dickens uses his hyperbolic irony and sentimentalism to create characters currently residing in the underworld of instrial London. The themes that appear within the text are the delineation between good and evil, the hypocritical attitudes and behaviors of public institutions, and the ultimately flawed theory of indivialism. Dickens uses mistaken identities and familial ties to create a story, which closely details the journey of a virtuous orphan through the mean streets of poverty (Spark Notes: Oliver Twist).

While Dickens was composing Oliver Twist, he was also working as editor of Bentleys Miscellany. As an author, Dickens rarely completely finished one work before beginning an entirely new project. For example, Pickwick Papers was not completed prior to his beginning of Oliver Twist. Nor was Oliver Twist completed before Dickens had moved on to Nicholas Nickleby. Master Humphrey抯 Clock and The Old Curiosity Shop were soon to follow. Dickens wrote at a fevered pace which would have been daunting to other authors. In addition to his rapid publication of novels, Dickens was also able to create strikingly differing works. His first serially published novel, Pickwick Papers, was fully of comic charisma; however, Gilbert Keith Chesterton states that Oliver Twist 搃s by far the most depressing of all his books?(Chesterton).

Oliver Twist is the story of an orphan who unwittingly stumbles upon his hidden fortune. The tale is one that vividly depicts the dismal prospects of one born into a workhouse without parents and is forced to survive on little or no compassion. Oliver is unloved and unwanted from the open of the novel. However, as the novel progresses, Oliver finds that his honest and kind disposition win him a variety of friends in high places. Although Fagin and the other street urchins continually seek to ruin Oliver抯 connections, Oliver抯 faithful heart find a home in the end. The novel demonstrates the benefits of a good will that may be found in the most unlikely of people. Oliver抯 merits carry him through life and away from the poverty that capture those with weaker morals. In the conclusion of the tale, Oliver finds himself among those with equally good manners and morals. His situation is only improved through the inevitable triumph of good over evil.

Dickens initially published Oliver Twist in the format of serial publication. Dickens used the process of creating monthly installments to create a high level of suspense, leaving the audience eagerly awaiting the next installment in the series. Oliver Twist was reportedly 揳 part of everyday conversations, just as top rated television shows are for us today.?SPAN style="mso-spacerun: yes"> Dickens effectively used the publishing techniques to his benefit; he was able to work the system (Oliver Twist桾he Author and His Times).

Interestingly, Dickens抯 personal environment was greatly shaken in both a happy manner and a sad one ring the publishing of Oliver Twist. In May of 1837 Mary Hogarth died, devastating Dickens. Hogarth, his sister-in-law, was a dear friend and supporter of Dickens. Many critics speculate that the characters of Rose and Nancy were modeled after Dickens?companion Mary Hogarth. After Hogarth抯 death, Dickens feelings of abandonment seep into the world of Oliver. Oliver fears the loss of Rose as Dickens mourns the loss of Mary (Oliver Twist桾he Author and His Times). Catherine Dickens was also reported to have given birth to Charles, the first of ten children ring this time (Victorian Web). The splendor of a new baby was contrasted with the great loss of a close friend. Dickens, in fact, was forced to take a break from his busy writing schele to cope with the drastic changes that took place in his personal life at this time.

The Poor Laws were established prior to the publication of the novel. The Poor Laws, according to The Victorian Web, were created to destroy the relief programs that were in play since 1601. The Poor Laws generated a system of workhouses. The workhouses allowed for a program of assistance that did not merely dole out money but rather doled out food, shelter, and clothing. The Poor Laws provided an answer to the declining laws that were supporting the impoverished. The problems were obvious: the current system left the aged uncared for, the children ignorant and unecated, and the lower class population starving. King George III proposed a plan to:

Stop the allowance system梩o deprive the magistracy of the power of ordering out-door relief梩o alter in certain case the constitution of parochial vestries梩o give large discretionary powers to the central commissioners梩o simplify the law of settlement and removal梩o render the mother of an illegitimate child liable to support it. Dickens[1] 366

However, the workhouses proved to be yet another place to shove the poor. The theory may have been formed from noble ideals but the foundations were flawed.

The boundaries and faults of the Poor Laws are blatantly exemplified in Oliver Twist. Oliver is forced to suffer the indignities of starvation, brutal treatment, and is damned to life in a workhouse. Dickens used his artistic talents to speak for the silent, to fight for the oppressed, and to champion those defeated. Dickens himself states: 揑t was my attempt, in my humble and far distant sphere, to dim the false glitter surrounding something which really did exist, by showing it in its unattractive and repulsive truth?(Dickens 6). Dickens used his literary engine to fuel the debate over the Poor Laws and to reveal the reality that so many unfortunate souls were forced to inhabit.

The novel was received in a variety of ways. Many hailed the novel as a 搑unaway bestseller?and an encore to the highly prized Pickwick Papers. On the other hand, the Jewish population as well as other critics found the novel to be far too sentimental and lacking. One of the major issues raised by an entire community against the novels was the portrayal Fagin, the evil Jew. Milton Kerker in his article 揅harles Dickens, Fagin and Riah?states that Fagin may be the 搈 grotesgue and villainous Jew in all of English literature.?SPAN style="mso-spacerun: yes"> Fagin was found by the Jewish community to be a ruffian with the devil dwelling within his cold heart. In 1854 the Jewish Chronicle was outraged and presented the public with this criticism of Dickens. Later in 1863, Eliza Davis writes Dickens to question his portrayal of Fagin. Dickens responds to Davis by stating:

I must take leave to say, that if there be any general feeling on the part of the intelligent Jewish people, that I have done them what you describe as 揳 great wrong,?they are a far less sensible, a far less just, and a far less good-tempered people than I have always supposed them to be. Fagin, in Oliver Twist, is a Jew, because it unfortunately was true of the time to which that story refers, that that class of criminal almost invariably was a Jew. Dickens 378

The public did not openly object to the portrayal of Fagin until several years after the novel was originally published. However, despite the fact that Dickens maintained his innocence, Dickens did attempt to make alterations in the next edition of the novel to correct this offensive implication. In the 1867 edition of chapter 38, Fagin is referred to as 搕he Jew?more than 250 times. However, in later chapters he is referred to as 搕he Jew?only 32 times. This is thought to have been Dickens抯 attempt to reconcile Fagin抯 character with the Jewish community. Despite this characterization of Fagin and Dickens抯 wording changes, Dickens never openly abused a Jewish person nor did he openly practice anti-Semitic opinions (Kerker).

Likewise, the Monthly Review of January 1839 demanded that Dickens used characters that are so low that sympathy cannot be created. The reviewer feels that although there were comic pieces worth noting, the ending does not comply with the standard notion that the evil ones must face strict consequences while the just are rewarded. The reviewer does not go so far as to claim Dickens to be an immoral writer but he does not treat the characters with the morals that would classify Dickens with the 搵ighest rank of our moral fictionists.?Dickens is yet again commended for openly stating the plea of the downtrodden but in this reviewer抯 opinion, the downtrodden are not moral enough to place Dickens in a higher class of fiction novelists (Dickens 403-405).

Just as the Monthly Review questions the worth of such characters as Nancy, William Makepeace Thackeray also claims that such characters are not worth the sympathy or the attention of the audience. Thackeray does allow for Dickens抯 popularity but questions his use of setting and characters. True, Dickens can charm an audience like none other. True, one must continually read Dickens to satisfy some strange need. Unfortunately, the fact remains that Thackeray does not believe there is much to be gained by closely examining the life of the poor and forgotten (Dickens 408-410). In the opinion of Thackeray, would it not be much more prudent to bestow such kind sympathies upon a worthier class of characters? Character such as Amelia Osborne and Becky Sharp are worthy of moral scrutiny but Oliver Twist and the like shall remain in the gutter, below the view of the mainstream population.

Early reviews from The Examiner, September 10,1837, claim that this novel is an 揺xact painting?of the reality Dickens wished to present to the public. Dickens was praised for his capture of the emotions surrounding death of Nancy and the detailing of Oliver抯 life as an orphan. Although the reviewer is surprised to see Dickens making use of the Poor Law Debates in the first chapters of the novel, the reviewer understands the philanthropy that Dickens is attempting to inspire (Dickens 399-401). In conclusion of this review, the author states: 揥e leave him most reluctantly, and so will every read who has any capacity to see and feel whatsoever is most loveable, hateful, or laughable, in the character of the everyday life about him?(401).

The Spectator states on November 24, 1838, that Dickens 搵as genius to vivify his observation.?SPAN style="mso-spacerun: yes"> Dickens is complimented for his powerful use of pathos and his description of truth. The reviewer admires Dickens抯 ability to find good in all humanity despite the dirty surroundings of unfortunates such as Oliver. Dickens抯 style is commended to be capable of an effective use of language while never sounding forced (Dickens 401-402).

The Literary Gazette, and Journal of the Belles Lettres declares on November 24, 1838, that Dickens has 背ug deep into the human mind; and he has nobly directed his energies to the exposure of evils梩he workhouse, the starving school, the factory system, and many other things, at which blessed nature shudder and recoiled.?SPAN style="mso-spacerun: yes"> Dickens抯 ability to capture the suffering of Oliver intrigues the reading audience. Those who are far removed from the factories and the workhouses are suddenly acutely aware of the plea of the poor and the corruption of the Poor Laws. Dickens抯 has made a successful journey into social activism with the guidance of Oliver and his band of companions (Dickens 402-403).

The Quarterly Review of 1839 published a glowing review of the novel. The reviewer believed Dickens to be 揳 sign of the times?and as such, he provoked 搈ore interest than that of Halley抯 comet.?SPAN style="mso-spacerun: yes"> The reviewer felt that not only did he write just enough and not too much, but also he wrote with enough vigor to demand that the public read the next installment. His popularity was unparalleled and his installments were always immediately read. Dickens manages to tell of 搑eal pain?while the novel lacks in false sentimentalism (Dickens 405-408). The reviewer states: 揌e deals truly with human nature, which never can degrade; he takes up everything, good, bad, or indifferent, which he works up into a rich alluvial deposit. He is natural, and that never can be ridiculous?(Dickens 406).

Ironically, Oliver Twist, one of Dickens抯 earliest published works, returned to Dickens upon his death. During his career, Dickens performed public readings of his novels to large crowds of people. It was reported that such readings drew people from great distances to watch as Dickens reenacted his colorfully written scenes. During one of these readings, his last dramatic performance, Dickens suffered a collapse in April of 1869. Dickens was reading the portion of Oliver Twist where Sikes violently murders Nancy. The scene was 損hysically and emotionally exhausting?for the over-worked author. After this collapse, Dickens ceased to perform public readings of his novels. The stress on his body led to his death on June 8th of 1870. Dickens was working on The Mystery of Edwin Drood at the time of his death (Oliver Twist桾he Author and His Times).

Dickens has been criticized for his choice of characters and setting. At times the novel tends to shift to a sentimentality that leaves a sour taste in the mouth of the reading audience. The novel condemns the world of the Poor Laws by describing in great detail the life of a prostitute, orphan, gang of thieves, and other miscreants that grope their way along the underbelly of civilization. However, many of the reviewers felt that Dickens抯 ability to color realism with his pen was worth reading. Although Fagin may have been referred to as 搕he Jew?numerous times, Dickens was able to effectively shed light upon the suffering of the impoverished. After all, Dickens抯 goal was to pointedly describe the reality of where and how Oliver lived and survived the streets of a city that did not want him. The novel depicts the best of human nature in contrast with the worst of human nature. Couple the dynamic o of good verse evil with the name of Charles Dickens and a best seller is a sure thing.

② 求霧都孤兒的背景介紹，英文版。急急急急！

《霧都孤兒》以霧都倫敦為背景，講述了一個孤兒悲慘的身世及遭遇，主人公奧立專弗在孤兒院長屬大，經歷學徒生涯，艱苦逃難，誤入賊窩，又被迫與狠毒的凶徒為伍，歷盡無數辛酸，最後在善良人的幫助下，查明身世並獲得了幸福。 奧列佛.特維斯特一生下來就成了孤兒,他在收容所受盡折磨,後來成了殯儀館學徒,他因不堪虐待而出逃,落到一夥賊幫手中.後在「執行任務」中被勃朗特和蘿斯搭救.一個自稱蒙克斯的人出錢要賊幫把奧斯特培養成不可救葯的慣盜.同情他的南茜把情況告訴了蘿斯。勃朗特找到蒙克斯，原來他是奧列佛的異母哥哥，為獨自霸佔遺產而陷害奧列佛。最後，奧列佛繼承了應得的遺產，勃朗特收他為養子。蘿斯也和所愛的人結了婚。

小說描寫了善與惡、美與丑、正義與邪惡的斗爭，贊揚了人們天性中的正直和善良，也揭露抨擊了當時英國慈善機構的虛偽和治安警察的專橫。同時，作品又帶有濃厚的浪漫主義情調，充滿著人道主義情懷。

③ 以霧都孤兒為列論述作者所處時代，歷史背景。生平及作品評價

狄更斯廣泛描寫了19世紀英國維多利亞時代的社會生活，揭露了資產階級金錢世界的種種罪惡

《霧都孤兒》是狄更斯第一部動人的社會小說。這時他雖然還沒有認識到社會罪惡的根源，但通過孤兒奧列佛的遭遇揭開了處於社會底層的人們哀苦無告的生活畫面。奧列佛在貧民習藝所不堪忍受屈辱與飢餓，逃往倫敦，反又陷入賊窟，最後被「有德行的」資本家挽救出來。但作者在這里也揭露了資產階級偽裝慈善的面目，顯示出他當時創作思想的深度。
1812年2月7日，狄更斯出生在英國南部朴次茅斯的波特西地區一個貧寒的小職員家庭里。父親是海軍會計處的小職員，因無法清償債務而被投進債務監獄。這時剛滿10歲的狄更斯不得不挑起全家生活重擔，11歲時就被送到一家皮鞋油作坊去當童工。為節省開支，母親和弟妹都搬進監獄和父親住在一起。狄更斯在外做工，每逢星期日領到薪水就買些食物去監獄看望父母弟妹。後來狄更斯的父親繼承了一位遠親的一筆遺產，還清債務後出獄。狄更斯離開鞋油作坊進入一家小學讀書，對學校里摧殘兒童的野蠻教育十分反感。狄更斯充滿痛苦的童年生活，使他一生對窮人，特別是對貧苦兒童懷著深切同情，後來寫了不少兒童題材的作品，如《大衛·科波菲爾》中就有他童年生活的影子。
由於家庭貧窮，狄更斯從16歲開始，先後做過律師的抄寫員、事務所的信差、法院的速記員，這使他走遍倫敦的大街小巷，出入法院和監獄，接觸到各種人物，了解到各種訴訟案件。1832年他又當了報社的采訪記者。擔任記者期間，他有機會廣泛地接觸英國社會，常去國會記錄辯論情況，目睹了資產階級黨派斗爭的骯臟內幕，了解了辯論中揭露出來的上流社會的大量罪惡事實，這為他以後的文學創作搜集了豐富的生活素材。
狄更斯自幼就與文學結下了不解之緣。童年時代，他就閱讀了《魯濱遜漂流記》《天方夜譚》等大量小說。他的父親愛好戲劇，經常讓小狄更斯表演各種戲劇，敘述表演體會，教他背誦詩歌，即興創作。這種教育雖使小狄更斯吃了不少苦頭，卻也培養了他的文學興趣和刻苦學習的精神。他經常利用為倫敦幾家報刊工作的業余時間到大英博物館圖書閱覽室學習，從當采訪記者時就開始了文學創作。1836年到1837年，狄更斯分期發表了他的第一部小說《匹克威克外傳》，受到讀者的普遍歡迎。此後他脫離新聞工作，開始了專門從事文學創作的生涯。1842年，他訪問了美國。從1844年起，他常常攜同家人在瑞士、法國和義大利等國居住。1846年，他創辦進步報刊《每日新聞》，並擔任主編。1858年，他以傑出朗誦家身份在國內作朗誦旅行；1867年至1868年再度訪美。狄更斯一生不知疲倦地寫作嚴重損害了他的健康，1870年年6月9日，這位英國文壇上的「天之驕子」 在趕寫他的最後一部小說《愛德溫·德魯德之謎》時，患腦溢血去世。狄更斯在死前的遺囑中寫道：「……我絕對要求把我的喪事辦得樸素、簡潔。不要張揚。不要在報上發訃告……用普通的字型在墓碑上刻上我的名字就行了，而不用加什麼，『先生』『閣下』之類的字眼。懇請我的朋友們不要為我建造紀念碑、撰寫悼念文章。我的書會讓人們記得我的--對我來說，這就足夠了……」除了紀念碑外，狄更斯的遺願基本上都得到了尊重。但是他的死引起了全英國人民的哀悼,骨灰被安葬在威斯敏斯特的「詩人之角」。
他從小能演會唱，常被父親帶到酒店表演節目。10歲時，全家被迫遷入負債者監獄，11歲起就承擔了繁重的家務。他在皮鞋油作坊當學徒時，由於包裝熟練，曾被僱主放在櫥窗里當眾表演操作，作為廣告任人圍觀，在他心上留下了永久的傷痕，從而產生了對不幸的兒童深厚的同情和堅決擺脫貧困的決心。他只上過幾年學校，主要靠自學和深入生活獲得廣博的知識和文學素養。16歲時在一家律師事務所當繕寫員，走遍倫敦的大街小巷，廣泛了解社會。後擔任報社的采訪記者，熟悉議會政治中的種種弊端。24歲時與報社出版人霍加斯的女兒凱瑟琳結婚，並育有10個子女。由於性格和趣味上的差別，給他的創作、特別是晚年的生活帶來了不幸。他在采訪之餘開始文學創作。他常帶著筆記本在倫敦偏僻的角落和鄉村漫遊，為日後的創作搜集了豐富的素材。他一生刻苦寫作。晚年常常白天寫作，晚上被邀請去朗誦自己的作品。繁重的勞動、家庭和社會上的煩惱，以及對改變現實的失望，損害了他的健康。

④ 霧都孤兒的創作背景

《霧都復孤兒》是英國小說制家查爾斯·狄更斯在維多利亞時代的作品。資本主義的發展，使英國成為世界超級大國。但繁華之下，是貧窮和不幸。這種繁榮孕育在危險和骯臟的工廠和煤礦里。階級沖突越發明顯，終於在1836年到1848年中接連爆發。19世紀末期，大英帝國國力逐漸下降。作為一個時代的產物，文學日趨多樣化，許多偉大的作家出現在那個時代。19世紀，《霧都孤兒》寫於《濟貧法》通過之時。英國正經歷一場轉變，從一個農業和農村經濟向城市和工業國家的轉變。《濟貧法》允許窮人依賴接受公共援助，卻要求他們進行必要的勞動。為了阻止窮人依賴公共援助，逼迫他們忍受難以想像的痛苦。因為貧民院的救援聲名狼藉，許多窮人寧死也不尋求公共援助。《濟貧法》沒有提高窮人階級的生活水平，卻對最無助和無奈的下層階級施以懲罰。

⑤ 《霧都孤兒》（Oliver Twist）時代背景

英文名就是 Twist
Oliver Twist was begun in February 1837 and continued as monthly installments in Bentley Miscellany until April of 1839. Dickens originally titled the novel Oliver Twist: The Parish Boy Progress but it has since been shorten to simply Oliver Twist. Dickens finished writing the novel in the London of 1838 and the first edition of the novel was found on shelves in November of 1838. The novel falls into the genre of a children抯 detective story but the novel also contains an aspect of social protest as Dickens details the Poor Laws and workhouses. Dickens uses his hyperbolic irony and sentimentalism to create characters currently residing in the underworld of instrial London. The themes that appear within the text are the delineation between good and evil, the hypocritical attitudes and behaviors of public institutions, and the ultimately flawed theory of indivialism. Dickens uses mistaken identities and familial ties to create a story, which closely details the journey of a virtuous orphan through the mean streets of poverty (Spark Notes: Oliver Twist).

⑥ 這句話用英語怎麼說 狄更斯創作《霧都孤兒》的歷史背景

the historical background of Oliver Twist writen by Dickens
Oliver Twist 奧列佛抄·特襲維斯特 又譯霧都孤兒
The novel is an observation on London's dark society.

⑦ 求幫助，寫 《 霧都孤兒》這本書的大概內容，及閱讀後的評論，和時代背景，要全部英文寫，各250詞

剛剛讀過這本書來，讓我感慨頗多。這自是一本狄更斯著作，剛開始有些難懂，畢竟是外國名著翻譯而來。這本書寫法獨特，刻畫的人物形象鮮明。主要講述一個叫奧利弗·退斯特的孤兒生活，生下來就被遺棄的他過著艱難的生活，但他非常堅強、勇敢，從一個生活不下去的地方逃出來又掉入小偷設計的陷阱。苦命的孩子，艱難的生活，他始終無比的勇敢堅強。南希是這本書中我最喜歡的一個人，可惜的是這么一個好人結局卻是那樣的凄慘。這本書中描寫的角色善惡區分得非常明顯。我想讀過這本書之後我們應該學習和反思的是：真正做一個像奧利弗一樣堅強勇敢的人，如何真正做到出淤泥而不染、、、、、

⑧ 誰有《霧都孤兒》的時代背景分析，英文版

在網站找找應該有的

⑨ 請問誰有霧都孤兒的寫作背景，故事梗概……

寫作背來景：霧都孤兒產生源於英國維多利亞時期，是英國歷史上最光輝燦爛的時段。初期，英國面臨著飛速的經濟發展及嚴重的社會問題。大工業革命高潮迭起,各種科技發明與技術創新為國家經濟帶來新生力量。但在這繁榮與財富下掩蓋的是工人階級的貧困與不幸,為了謀生連婦女和兒童都要受僱到艱險骯臟的工廠礦山去賣苦力。狄更斯廣泛描寫了19世紀英國維多利亞時代的社會生活，揭露了資產階級金錢世界的種種罪惡《霧都孤兒》是狄更斯第一部動人的社會說。這時他雖然還沒有認識到社會罪惡的根源，但通過孤兒奧列佛的遭遇揭開了處於社會底層的人們哀苦無告的生活畫面。
故事梗概：以霧都倫敦為背景，講述了一個孤兒悲慘的身世及遭遇，主人公奧立弗在孤兒院長大，經歷學徒生涯，艱苦逃難，誤入賊窩，又被迫與狠毒的凶徒為伍，歷盡無數辛酸，最後在善良人的幫助下，查明身世並獲得了幸福。如同狄更斯的其他小說，本書揭露許多當時的社會問題，如救濟院、童工、以及幫派吸收青少年參與犯罪等。

⑩ 霧都孤兒:的社會背景誰能告訴我啊

1社會背景
應當說， 19 世紀是歐洲兒童文學發展的黃金時代， 這
一契機是伴隨著資本主義制度的建立鞏固而到來的，隨著
歐洲啟蒙運動的深入和唯物思想的傳播以及科學技術的發
展， 人們的科學觀念和人文素質正在不斷地提高， 對兒童教
育也更加關注， 並開始承認兒童是具有獨立人格的人群， 而
不是成年人的縮小或影子 兒童獨立人格的確立， 兒童教育
的重要性的認識， 使兒童讀物的寫作開始受到重視， 人們開
始認識到兒童這一群體應當有適合於他們需要的讀物，不
應當像成年人那樣面對枯燥刻板 教條陳腐的聖經故事 祈
禱詩 神怪傳說等， 而是應當通過大量的圖文並茂的 情節
生動的 趣味高尚的讀物， 使兒童的心靈得到滋養， 使兒童
得到品質教育的啟迪，於是兒童文學創作的新契機全面到
來 這一時期， 歐洲各國的兒童文學創作都取得了輝煌的成
就， 兒童小說的創作開始崛起， 這些都成為 19 世紀歐洲文
學的一大特徵 1745年， 英國人約翰 紐伯利在英國倫敦的
聖保羅教堂大街上掛出了 聖經與太陽社 的招牌， 開始了
兒童圖書的出版事業， 這是世界上最早的兒童圖書出版社
1785 年，德國拉斯別收集整理出版的 敏豪生奇游記 ；
1805 至 1808 年德國詩人克蘋門斯 布倫塔諾和阿希姆
馮 阿尼姆出版的搜集了日耳曼民謠和童謠的 少年魔笛 ；
1812 年，德國語言學家格林兄弟收集的 兒童與家庭童話
集 ； 1833 年， 俄國普希金創作的敘事寓言詩 漁夫與金魚
的故事 等， 都是這一時期的兒童文學佳作 特別是 1802年
法國雨果 悲慘世界 的問世， 將兒童的悲慘命運用小說的
形式展示在世人面前，不但給世人以震撼， 也給作家們提供了全新的審視生活的新角度 生活於這一時期的狄更斯理
所當然地受到這種兒童文學氛圍的熏染，再加他自身的人
道主義精神， 使他將目光投向了兒童的成長和教育問題， 並
以大師級的大手筆， 將兒童小說創作推向一個新的高度上
2 個人背景
狄更斯所處的 19 世紀，正是英國維多利亞的盛世時
代 當時的英國， 一方面是工業的蓬勃發展帶來了社會全面
的繁榮； 另一方面， 經濟的快速發展， 加劇了社會矛盾和勞
資矛盾， 貧富兩級分化， 貧民的生存問題日益嚴重， 悲慘的
城市流浪兒童成為嚴重的社會問題之一 而狄更斯本人就
曾經是一個貧困家庭的兒童，他的父親本是英國海軍的一
位職員， 家裡的生活還算過得去，但因為父親過分沉溺於對
人際交往的幻想而投入了大量資金，導致他負債累累窮困
潦倒， 最後只好搬進倫敦最貧窮最骯臟的街區， 與下層貧困
人群為伍， 後來父親入獄， 母親也帶著四個幼子進入監獄里
陪伴父親，小小年紀的狄更斯不得不結束了無憂無慮的童
年生活而到一家鞋油廠去打工，因為他動作熟練，操作流
暢，他甚至被老闆安排在櫥窗中為人展示熟練的技藝 貧民
區一座座破敗黑暗的房子里傳出的兒童飢餓的哭聲，街上
瘦骨嶙峋的孩童給童年的狄更斯留下了難以忘記的印象，
也使他有機會看到 接觸到和他命運相同的貧困兒童的真
實生活，這也為他日後創作一系列兒童苦難小說奠定了基
礎 可以說， 狄更斯在其創作的兒童苦難小說中對人物心理
和行為的細膩刻畫 真實把握， 都得力於他童年時代的真實
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