雾都孤儿的写作背景英语

① 雾都孤儿的英文背景

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 揾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 揾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 损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 求雾都孤儿的背景介绍，英文版。急急急急！

《雾都孤儿》以雾都伦敦为背景，讲述了一个孤儿悲惨的身世及遭遇，主人公奥立专弗在孤儿院长属大，经历学徒生涯，艰苦逃难，误入贼窝，又被迫与狠毒的凶徒为伍，历尽无数辛酸，最后在善良人的帮助下，查明身世并获得了幸福。 奥列佛.特维斯特一生下来就成了孤儿,他在收容所受尽折磨,后来成了殡仪馆学徒,他因不堪虐待而出逃,落到一伙贼帮手中.后在“执行任务”中被勃朗特和萝斯搭救.一个自称蒙克斯的人出钱要贼帮把奥斯特培养成不可救药的惯盗.同情他的南茜把情况告诉了萝斯。勃朗特找到蒙克斯，原来他是奥列佛的异母哥哥，为独自霸占遗产而陷害奥列佛。最后，奥列佛继承了应得的遗产，勃朗特收他为养子。萝斯也和所爱的人结了婚。

小说描写了善与恶、美与丑、正义与邪恶的斗争，赞扬了人们天性中的正直和善良，也揭露抨击了当时英国慈善机构的虚伪和治安警察的专横。同时，作品又带有浓厚的浪漫主义情调，充满着人道主义情怀。

③ 以雾都孤儿为列论述作者所处时代，历史背景。生平及作品评价

狄更斯广泛描写了19世纪英国维多利亚时代的社会生活，揭露了资产阶级金钱世界的种种罪恶

《雾都孤儿》是狄更斯第一部动人的社会小说。这时他虽然还没有认识到社会罪恶的根源，但通过孤儿奥列佛的遭遇揭开了处于社会底层的人们哀苦无告的生活画面。奥列佛在贫民习艺所不堪忍受屈辱与饥饿，逃往伦敦，反又陷入贼窟，最后被“有德行的”资本家挽救出来。但作者在这里也揭露了资产阶级伪装慈善的面目，显示出他当时创作思想的深度。
1812年2月7日，狄更斯出生在英国南部朴次茅斯的波特西地区一个贫寒的小职员家庭里。父亲是海军会计处的小职员，因无法清偿债务而被投进债务监狱。这时刚满10岁的狄更斯不得不挑起全家生活重担，11岁时就被送到一家皮鞋油作坊去当童工。为节省开支，母亲和弟妹都搬进监狱和父亲住在一起。狄更斯在外做工，每逢星期日领到薪水就买些食物去监狱看望父母弟妹。后来狄更斯的父亲继承了一位远亲的一笔遗产，还清债务后出狱。狄更斯离开鞋油作坊进入一家小学读书，对学校里摧残儿童的野蛮教育十分反感。狄更斯充满痛苦的童年生活，使他一生对穷人，特别是对贫苦儿童怀着深切同情，后来写了不少儿童题材的作品，如《大卫·科波菲尔》中就有他童年生活的影子。
由于家庭贫穷，狄更斯从16岁开始，先后做过律师的抄写员、事务所的信差、法院的速记员，这使他走遍伦敦的大街小巷，出入法院和监狱，接触到各种人物，了解到各种诉讼案件。1832年他又当了报社的采访记者。担任记者期间，他有机会广泛地接触英国社会，常去国会记录辩论情况，目睹了资产阶级党派斗争的肮脏内幕，了解了辩论中揭露出来的上流社会的大量罪恶事实，这为他以后的文学创作搜集了丰富的生活素材。
狄更斯自幼就与文学结下了不解之缘。童年时代，他就阅读了《鲁滨逊漂流记》《天方夜谭》等大量小说。他的父亲爱好戏剧，经常让小狄更斯表演各种戏剧，叙述表演体会，教他背诵诗歌，即兴创作。这种教育虽使小狄更斯吃了不少苦头，却也培养了他的文学兴趣和刻苦学习的精神。他经常利用为伦敦几家报刊工作的业余时间到大英博物馆图书阅览室学习，从当采访记者时就开始了文学创作。1836年到1837年，狄更斯分期发表了他的第一部小说《匹克威克外传》，受到读者的普遍欢迎。此后他脱离新闻工作，开始了专门从事文学创作的生涯。1842年，他访问了美国。从1844年起，他常常携同家人在瑞士、法国和意大利等国居住。1846年，他创办进步报刊《每日新闻》，并担任主编。1858年，他以杰出朗诵家身份在国内作朗诵旅行；1867年至1868年再度访美。狄更斯一生不知疲倦地写作严重损害了他的健康，1870年年6月9日，这位英国文坛上的“天之骄子” 在赶写他的最后一部小说《爱德温·德鲁德之谜》时，患脑溢血去世。狄更斯在死前的遗嘱中写道：“……我绝对要求把我的丧事办得朴素、简洁。不要张扬。不要在报上发讣告……用普通的字型在墓碑上刻上我的名字就行了，而不用加什么，‘先生’‘阁下’之类的字眼。恳请我的朋友们不要为我建造纪念碑、撰写悼念文章。我的书会让人们记得我的--对我来说，这就足够了……”除了纪念碑外，狄更斯的遗愿基本上都得到了尊重。但是他的死引起了全英国人民的哀悼,骨灰被安葬在威斯敏斯特的“诗人之角”。
他从小能演会唱，常被父亲带到酒店表演节目。10岁时，全家被迫迁入负债者监狱，11岁起就承担了繁重的家务。他在皮鞋油作坊当学徒时，由于包装熟练，曾被雇主放在橱窗里当众表演操作，作为广告任人围观，在他心上留下了永久的伤痕，从而产生了对不幸的儿童深厚的同情和坚决摆脱贫困的决心。他只上过几年学校，主要靠自学和深入生活获得广博的知识和文学素养。16岁时在一家律师事务所当缮写员，走遍伦敦的大街小巷，广泛了解社会。后担任报社的采访记者，熟悉议会政治中的种种弊端。24岁时与报社出版人霍加斯的女儿凯瑟琳结婚，并育有10个子女。由于性格和趣味上的差别，给他的创作、特别是晚年的生活带来了不幸。他在采访之余开始文学创作。他常带着笔记本在伦敦偏僻的角落和乡村漫游，为日后的创作搜集了丰富的素材。他一生刻苦写作。晚年常常白天写作，晚上被邀请去朗诵自己的作品。繁重的劳动、家庭和社会上的烦恼，以及对改变现实的失望，损害了他的健康。

④ 雾都孤儿的创作背景

《雾都复孤儿》是英国小说制家查尔斯·狄更斯在维多利亚时代的作品。资本主义的发展，使英国成为世界超级大国。但繁华之下，是贫穷和不幸。这种繁荣孕育在危险和肮脏的工厂和煤矿里。阶级冲突越发明显，终于在1836年到1848年中接连爆发。19世纪末期，大英帝国国力逐渐下降。作为一个时代的产物，文学日趋多样化，许多伟大的作家出现在那个时代。19世纪，《雾都孤儿》写于《济贫法》通过之时。英国正经历一场转变，从一个农业和农村经济向城市和工业国家的转变。《济贫法》允许穷人依赖接受公共援助，却要求他们进行必要的劳动。为了阻止穷人依赖公共援助，逼迫他们忍受难以想象的痛苦。因为贫民院的救援声名狼藉，许多穷人宁死也不寻求公共援助。《济贫法》没有提高穷人阶级的生活水平，却对最无助和无奈的下层阶级施以惩罚。

⑤ 《雾都孤儿》（Oliver Twist）时代背景

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 这句话用英语怎么说 狄更斯创作《雾都孤儿》的历史背景

the historical background of Oliver Twist writen by Dickens
Oliver Twist 奥列佛抄·特袭维斯特 又译雾都孤儿
The novel is an observation on London's dark society.

⑦ 求帮助，写 《 雾都孤儿》这本书的大概内容，及阅读後的评论，和时代背景，要全部英文写，各250词

刚刚读过这本书来，让我感慨颇多。这自是一本狄更斯著作，刚开始有些难懂，毕竟是外国名著翻译而来。这本书写法独特，刻画的人物形象鲜明。主要讲述一个叫奥利弗·退斯特的孤儿生活，生下来就被遗弃的他过着艰难的生活，但他非常坚强、勇敢，从一个生活不下去的地方逃出来又掉入小偷设计的陷阱。苦命的孩子，艰难的生活，他始终无比的勇敢坚强。南希是这本书中我最喜欢的一个人，可惜的是这么一个好人结局却是那样的凄惨。这本书中描写的角色善恶区分得非常明显。我想读过这本书之后我们应该学习和反思的是：真正做一个像奥利弗一样坚强勇敢的人，如何真正做到出淤泥而不染、、、、、

⑧ 谁有《雾都孤儿》的时代背景分析，英文版

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⑨ 请问谁有雾都孤儿的写作背景，故事梗概……

写作背来景：雾都孤儿产生源于英国维多利亚时期，是英国历史上最光辉灿烂的时段。初期，英国面临着飞速的经济发展及严重的社会问题。大工业革命高潮迭起,各种科技发明与技术创新为国家经济带来新生力量。但在这繁荣与财富下掩盖的是工人阶级的贫困与不幸,为了谋生连妇女和儿童都要受雇到艰险肮脏的工厂矿山去卖苦力。狄更斯广泛描写了19世纪英国维多利亚时代的社会生活，揭露了资产阶级金钱世界的种种罪恶《雾都孤儿》是狄更斯第一部动人的社会说。这时他虽然还没有认识到社会罪恶的根源，但通过孤儿奥列佛的遭遇揭开了处于社会底层的人们哀苦无告的生活画面。
故事梗概：以雾都伦敦为背景，讲述了一个孤儿悲惨的身世及遭遇，主人公奥立弗在孤儿院长大，经历学徒生涯，艰苦逃难，误入贼窝，又被迫与狠毒的凶徒为伍，历尽无数辛酸，最后在善良人的帮助下，查明身世并获得了幸福。如同狄更斯的其他小说，本书揭露许多当时的社会问题，如救济院、童工、以及帮派吸收青少年参与犯罪等。

⑩ 雾都孤儿:的社会背景谁能告诉我啊

1社会背景
应当说， 19 世纪是欧洲儿童文学发展的黄金时代， 这
一契机是伴随着资本主义制度的建立巩固而到来的，随着
欧洲启蒙运动的深入和唯物思想的传播以及科学技术的发
展， 人们的科学观念和人文素质正在不断地提高， 对儿童教
育也更加关注， 并开始承认儿童是具有独立人格的人群， 而
不是成年人的缩小或影子 儿童独立人格的确立， 儿童教育
的重要性的认识， 使儿童读物的写作开始受到重视， 人们开
始认识到儿童这一群体应当有适合于他们需要的读物，不
应当像成年人那样面对枯燥刻板 教条陈腐的圣经故事 祈
祷诗 神怪传说等， 而是应当通过大量的图文并茂的 情节
生动的 趣味高尚的读物， 使儿童的心灵得到滋养， 使儿童
得到品质教育的启迪，于是儿童文学创作的新契机全面到
来 这一时期， 欧洲各国的儿童文学创作都取得了辉煌的成
就， 儿童小说的创作开始崛起， 这些都成为 19 世纪欧洲文
学的一大特征 1745年， 英国人约翰 纽伯利在英国伦敦的
圣保罗教堂大街上挂出了 圣经与太阳社 的招牌， 开始了
儿童图书的出版事业， 这是世界上最早的儿童图书出版社
1785 年，德国拉斯别收集整理出版的 敏豪生奇游记 ；
1805 至 1808 年德国诗人克苹门斯 布伦塔诺和阿希姆
冯 阿尼姆出版的搜集了日耳曼民谣和童谣的 少年魔笛 ；
1812 年，德国语言学家格林兄弟收集的 儿童与家庭童话
集 ； 1833 年， 俄国普希金创作的叙事寓言诗 渔夫与金鱼
的故事 等， 都是这一时期的儿童文学佳作 特别是 1802年
法国雨果 悲惨世界 的问世， 将儿童的悲惨命运用小说的
形式展示在世人面前，不但给世人以震撼， 也给作家们提供了全新的审视生活的新角度 生活于这一时期的狄更斯理
所当然地受到这种儿童文学氛围的熏染，再加他自身的人
道主义精神， 使他将目光投向了儿童的成长和教育问题， 并
以大师级的大手笔， 将儿童小说创作推向一个新的高度上
2 个人背景
狄更斯所处的 19 世纪，正是英国维多利亚的盛世时
代 当时的英国， 一方面是工业的蓬勃发展带来了社会全面
的繁荣； 另一方面， 经济的快速发展， 加剧了社会矛盾和劳
资矛盾， 贫富两级分化， 贫民的生存问题日益严重， 悲惨的
城市流浪儿童成为严重的社会问题之一 而狄更斯本人就
曾经是一个贫困家庭的儿童，他的父亲本是英国海军的一
位职员， 家里的生活还算过得去，但因为父亲过分沉溺于对
人际交往的幻想而投入了大量资金，导致他负债累累穷困
潦倒， 最后只好搬进伦敦最贫穷最肮脏的街区， 与下层贫困
人群为伍， 后来父亲入狱， 母亲也带着四个幼子进入监狱里
陪伴父亲，小小年纪的狄更斯不得不结束了无忧无虑的童
年生活而到一家鞋油厂去打工，因为他动作熟练，操作流
畅，他甚至被老板安排在橱窗中为人展示熟练的技艺 贫民
区一座座破败黑暗的房子里传出的儿童饥饿的哭声，街上
瘦骨嶙峋的孩童给童年的狄更斯留下了难以忘记的印象，
也使他有机会看到 接触到和他命运相同的贫困儿童的真
实生活，这也为他日后创作一系列儿童苦难小说奠定了基
础 可以说， 狄更斯在其创作的儿童苦难小说中对人物心理
和行为的细腻刻画 真实把握， 都得力于他童年时代的真实
经历