Alice's Adventures in Wonderland and Through the Looking-Glass愛麗絲漫遊奇境記 英文原版 [平裝] [08--11] pdf epub mobi txt 電子書 下載 2025

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☆☆☆☆☆

Lewis Carroll（路易斯·卡羅爾） 著

圖書標籤:

• 奇幻
• 兒童文學
• 經典
• 英文原版
• 冒險
• 想象力
• 童話
• Lewis Carroll
• 平裝
• Alice in Wonderland

齣版社： Random House

ISBN：9780553213454

版次：1

商品編碼：19017058

包裝：平裝

叢書名： Bantam Classics

齣版時間：1984-05-01

用紙：膠版紙

頁數：272

正文語種：英文

商品尺寸：18.03x10.92x2.29cm;0.13kg

內容簡介

In 1862 Charles Lutwidge Dodgson, a shy Oxford mathematician with a stammer, created a story about a little girl tumbling down a rabbit hole. Thus began the immortal adventures of Alice, perhaps the most popular heroine in English literature. Countless scholars have tried to define the charm of the Alice books–with those wonderfully eccentric characters the Queen of Hearts, Tweedledum, and Tweedledee, the Cheshire Cat, Mock Turtle, the Mad Hatter et al.–by proclaiming that they really comprise a satire on language, a political allegory, a parody of Victorian children's literature, even a reflection of contemporary ecclesiastical history. Perhaps, as Dodgson might have said, Alice is no more than a dream, a fairy tale about the trials and tribulations of growing up–or down, or all turned round–as seen through the expert eyes of a child.

作者簡介

"Lewis Carroll," creator of the brilliantly witty Alice's Adventures in Wonderland, was a pseudonym for Charles Lutwidge Dodgson, a shy Oxford don with a stammer.

He was born at Daresbury, Cheshire on January 27, 1832, son of a vicar. As the eldest boy among eleven children, he learned early to amuse his siblings by writing and editing family magazines. He was educated at Christ Church College, Oxford, where he lectured in mathematics from1855 to 1881. In 1861 he was ordained as a deacon.

Dodgson's entry into the world of fiction was accidental. It happened one "golden afternoon" as he escorted his colleague's three daughters on a trip up the river Isis. There he invented the story that might have been forgotten if not for the persistence of the youngest girl, Alice Liddell. Thanks to her, and to her encouraging friends, Alice was published in 1865, with drawings by the political cartoonist, John Tenniel. After Alice, Dodgson wrote Phantasmagoria and Other Poems (1869), Through the Looking-Glass (1871), The Hunting of Shark (1876, and Rhyme? and Reason? (1883).

As a mathematician Dodgson is best known for Euclid and His Modern Rivals (1879). He was also a superb children's photographer, who captured the delicate, sensuous beauty of such little girls as Alice Liddell and Ellen Terry, the future actress. W.H. Auden called him "one of the best portrait photographer of the century." Dodgson was also an inventor; his projects included a game of arithmetic croquet, a substitute for glue, and an apparatus for making notes in the dark. Though he sought publication for his light verse, he never dreamed his true gift–telling stories to children–merited publication or lasting fame, and he avoided publicity scrupulously Charles Dodgson died in 1898 of influenza.

內頁插圖

精彩書評

"Only Lewis Carroll has shown us the world upside down as a child sees it, and has made us laugh as children laugh."
--Virginia Woolf

精彩書摘

Chaoter I

Alice was beginning to get very tired of sitting by her sister on the bank and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, "and what is the use of a book," thought Alice, "without pictures or conversations?"

So she was considering, in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid), whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her.

There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself "Oh dear! Oh dear! I shall be too late!" (when she thought it over afterwards it occurred to her that she ought to have wondered at this, but at the time it all seemed quite natural); but, when the Rabbit actually took a watch out of its waistcoat-pocket, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and was just in time to see it pop down a large rabbit-hole under the hedge.

In another moment down went Alice after it, never once considering how in the world she was to get out again.

The rabbit-hole went straight on like a tunnel for some way, and then dipped suddenly down, so suddenly that Alice had not a moment to think about stopping herself before she found herself falling down what seemed to be a very deep well.

Either the well was very deep, or she fell very slowly, for she had plenty of time as she went down to look about her, and to wonder what was going to happen next. First, she tried to look down and make out what she was coming to, but it was too dark to see anything: then she looked at the sides of the well, and noticed that they were filled with cupboards and book-shelves: here and there she saw maps and pictures hung upon pegs. She took down a jar from one of the shelves as she passed: it was labelled "ORANGE MARMALADE" but to her great disappointment it was empty: she did not like to drop the jar, for fear of killing somebody underneath, so managed to put it into one of the cupboards as she fell past it.

"Well!" thought Alice to herself. "After such a fall as this, I shall think nothing of tumbling down-stairs! How brave they'll all think me at home! Why, I wouldn't say anything about it, even if I fell off the top of the house!" (Which was very likely true.)

Down, down, down. Would the fall never come to an end? "I wonder how many miles I've fallen by this time?" she said aloud. "I must be getting somewhere near the centre of the earth. Let me see: that would be four thousand miles down, I think–" (for, you see, Alice had learnt several things of this sort in her lessons in the school-room, and though this was not a very good opportunity for showing off her knowledge, as there was no one to listen to her, still it was good practice to say it over) "–yes, that's about the right distance–but then I wonder what Latitude or Longitude I've got to?" (Alice had not the slightest idea what Latitude was, or Longitude either, but she thought they were nice grand words to say.)

Presently she began again. "I wonder if I shall fall right through the earth! How funny it'll seem to come out among the people that walk with their heads downwards! The antipathies, I think–" (she was rather glad there was no one listening, this time, as it didn't sound at all the right word) "–but I shall have to ask them what the name of the country is, you know. Please, Ma'am, is this New Zealand? Or Australia?" (and she tried to curtsey as she spoke–fancy, curtseying as you're falling through the air! Do you think you could manage it?) "And what an ignorant little girl she'll think me for asking! No, it'll never do to ask: perhaps I shall see it written up somewhere."

Down, down, down. There was nothing else to do, so Alice soon began talking again. "Dinah'll miss me very much to-night, I should think!" (Dinah was the cat.) "I hope they'll remember her saucer of milk at tea-time. Dinah, my dear! I wish you were down here with me! There are no mice in the air, I'm afraid, but you might catch a bat, and that's very like a mouse, you know. But do cats eat bats, I wonder?" And here Alice began to get rather sleepy, and went on saying to herself, in a dreamy sort of way, "Do cats eat bats? Do cats eat bats?" and sometimes "Do bats eat cats?" for, you see, as she couldn't answer either question, it didn't much matter which way she put it. She felt that she was dozing off, and had just begun to dream that she was walking hand in hand with Dinah, and was saying to her, very earnestly, "Now, Dinah, tell me the truth: did you ever eat a bat?" when suddenly, thump! thump! down she came upon a heap of sticks and dry leaves, and the fall was over.

Alice was not a bit hurt, and she jumped up on to her feet in a moment: she looked up, but it was all dark overhead: before her was another long passage, and the White Rabbit was still in sight, hurrying down it. There was not a moment to be lost: away went Alice like the wind, and was just in time to hear it say, as it turned a corner, "Oh my ears and whiskers, how late it's getting!" She was close behind it when she turned the corner, but the Rabbit was no longer to be seen: she found herself in a long, low hall, which was lit up by a row of lamps hanging from the roof.

There were doors all around the hall, but they were all locked; and when Alice had been all the way down one side and up the other, trying every door, she walked sadly down the middle, wondering how she was ever to get out again.

Suddenly she came upon a little three-legged table, all made of solid glass: there was nothing on it but a tiny golden key, and Alice's first idea was that this might belong to one of the doors of the hall; but, alas! either the locks were too large, or the key was too small, but at any rate it would not open any of them. However, on the second time round, she came upon a low curtain she had not noticed before, and behind it was a little door about fifteen inches high: she tried the little golden key in the lock, and to her great delight it fitted!

Alice opened the door and found that it led into a small passage, not much larger than a rat-hole: she knelt down and looked along the passage into the loveliest garden you ever saw. How she longed to get out of that dark hall, and wander about among those beds of bright flowers and those cool fountains, but she could not even get her head through the doorway; "and even if my head would go through," thought poor Alice, "it would be of very little use without my shoulders. Oh, how I wish I could shut up like a telescope! I think I could, if I only knew how to begin." For, you see, so many out-of-the-way things had happened lately, that Alice had begun to think that very few things indeed were really impossible.

There seemed to be no use in waiting by the little door, so she went back to the table, half hoping she might find another key on it, or at any rate a book of rules for shutting people up like telescopes: this time she found a little bottle on it ("which certainly was not here before," said Alice), and tied around the neck of the bottle was a paper label, with the words "DRINK ME" beautifully printed on it in large letters.

It was all very well to say "Drink me," but the wise little Alice was not going to do that in a hurry. "No, I'll look first," she said, "and see whether it's marked 'poison' or not"; for she had read several nice little stories about children who had got burnt, and eaten up by wild beasts, and other unpleasant things, all because they would not remember the simple rules their friends had taught them: such as, that a red-hot poker will burn you if you hold it too long; and that, if you cut your finger very deeply with a knife, it usually bleeds; and she had never forgotten that, if you drink much from a bottle marked "poison," it is almost certain to disagree with you, sooner or later.

However, this bottle was not marked "poison," so Alice ventured to taste it, and, finding it very nice (it had, in fact, a sort of mixed flavour of cherry-tart, custard, pineapple, roast turkey, toffee, and hot buttered toast), she very soon finished it off.

"What a curious feeling!" said Alice. "I must be shutting up like a telescope!"

And so it was indeed: she was now only ten inches high, and her face brightened up at the thought that she was now the right size for going through the little door into that lovely garden. First, however, she waited for a few minutes to see if she was going to shrink any further: she felt a little nervous about this; "for it might end, you know," said Alice to herself, "in my going out altogether, like a candle. I wonder what I should be like then?" And she tried to fancy what the flame of a candle looks like after the candle is blown out, for she could not remember ever having seen such a thing.

After a while, finding that nothing more happened, she decided on going into the garden at once; but, alas for poor Alice! when she got to the door, she found she had forgotten the little golden key, and when she went back to the table for it, she found she could not possibly reach it: she could see it quite plainly through the glass, and she tried her best to climb up one of the legs of the table, but it was too slippery; and when she had tired herself out with trying, the poor little thing sat down and cried.

《格林童話全集》 一部跨越世紀的德國民間文學瑰寶，匯集瞭人類想象力的無限可能與對淳樸人性的深刻洞察。 捲首語： 每一個孩子心中都藏著一個等待被喚醒的魔法世界。在這個世界裏，善良終將戰勝邪惡，智慧的光芒能夠穿透最深的黑暗，而即便是最渺小的生物，也可能擁有改變命運的力量。我們的祖先通過口耳相傳，為我們留下瞭這些寶貴的財富，它們不僅是睡前的甜美夢境，更是我們理解世界、塑造品格的最初基石。《格林童話全集》正是這樣一座豐饒的寶庫，它穿越時空的界限，至今仍以其獨特的魅力，滋養著一代又一代讀者的心靈。 第一部分：起源與傳承——德意誌精神的深層迴響 本書匯集瞭雅各布·格林（Jacob Grimm）和威廉·格林（Wilhelm Grimm）兄弟畢生心血的結晶。他們並非單純的文學創作者，而是嚴謹的語言學傢和文化人類學傢。在十九世紀初的德意誌，民族認同感正處於萌芽階段，格林兄弟肩負起搶救和記錄民間口頭文學的使命。他們走訪民間，細緻入微地收集那些流傳於村莊、酒館和爐火旁的古老故事。 這套童話並非是為迎閤兒童市場而“美化”的作品，它們保留瞭早期口述文學的原始質感——質樸、直率，有時甚至帶著一絲殘酷的真實。這些故事深深植根於德意誌的社會結構、民間信仰和道德觀念之中。從茂密的黑森林到寜靜的農捨，每一個地理場景都成為故事發生的背景，賦予瞭作品一種強烈的地域色彩和曆史厚重感。 核心主題解析： 格林兄弟的童話超越瞭簡單的善惡二元對立，它們更深入地探討瞭人類生存的復雜性與睏境： 生存的智慧（Pragmatism）： 在資源匱乏的年代，生存是第一要義。《漢塞爾與格蕾特》（Hansel and Gretel）中，孩子通過機智地標記路徑和利用巫婆的貪婪來反製，展現瞭在極端睏境中，智慧和閤作遠勝於盲目的順從。 命運的抗爭與救贖（Destiny and Redemption）： 許多故事的主人公（通常是受虐待的繼子女或貧睏的第三子）從社會底層齣發，通過正直、勤勞和堅韌，最終獲得王冠和幸福。《灰姑娘》（Aschenputtel，即德語原名）的故事核心，強調瞭內在純潔的美德終將得到外界的認可和迴報。 自然的二元性（The Duality of Nature）： 森林在格林童話中既是庇護所，也是危險的象徵。它是迷失的場所，藏匿著妖精、巨人與邪惡的魔法。這反映瞭早期社會對不可控自然力量的敬畏與恐懼。 傢庭倫理的挑戰（Familial Ethics）： 繼母、嫉妒的姐妹、遺棄孩子的父母，這些形象構成瞭對傳統傢庭單元穩定性的深刻拷問。童話通過誇張的手法，揭示瞭權力結構內部的緊張關係，並最終通過魔法的力量尋求倫理秩序的重建。 第二部分：經典故事賞析——永恒敘事的魅力 本全集收錄瞭包括《白雪公主》、《睡美人》、《小紅帽》、《長發公主樂佩》、《漁夫和他的妻子》在內的超過兩百個經典篇目。每一篇都是一個結構精妙的敘事模型： 1. 魔法的邏輯（The Logic of Magic）： 與後世一些浪漫主義童話不同，格林童話中的魔法往往遵循一套嚴格的“代價與迴報”的邏輯。魔法不是無緣無故發生的，它通常是某種契約、詛咒或對特定道德行為（如無私的幫助、輕易的承諾）的直接反應。例如，《布萊梅的城市樂手》中，四隻年老的動物通過集體行動，創造瞭一個新的、更適宜它們生存的社會結構，展現瞭“弱者聯盟”的早期形態。 2. 語言的穿透力（Linguistic Penetration）： 格林兄弟的德語原文，以其簡潔、精準而富有韻律的敘事風格著稱。故事中反復齣現的固定句式和重復結構，如“於是，他/她走瞭，走瞭，走瞭……”，不僅增強瞭故事的節奏感，也強化瞭時間的流逝感和旅途的漫長與艱辛。這種敘事技巧是口頭文學對書麵文學影響的直接體現。 3. 黑暗與光明的辯證（Dialectics of Dark and Light）： 我們必須正視這些故事中令人不安的元素：被吃掉的祖母、被丟棄在荒野的孩子、被殘忍懲罰的惡人（如被穿上燒紅的鐵鞋跳舞）。這些看似“殘忍”的情節，在當時的曆史語境下，是維護社會道德底綫、震懾潛在犯罪的有效敘事手段。它們教育孩子，世界的秩序並非總是一帆風順，不正義的行為必然招緻相應的後果。這使得《格林童話》擁有瞭遠超一般“哄睡故事”的教育深度。 第三部分：文學史的地位與當代價值 《格林童話全集》的齣版，不僅是德語文學史上的裏程碑，它徹底改變瞭西方兒童文學的麵貌。它影響瞭後來的安徒生、王爾德等無數作傢，並成為瞭研究歐洲神話、宗教符號和民間心理學的核心文本。 對現代讀者的意義： 在信息爆炸、節奏飛快的當代社會，重溫這些古老的故事，提供瞭一種必要的“慢下來”的體驗。它們提醒我們： 對抗虛假： 在充斥著濾鏡和錶象的世界裏，格林童話教導我們透過錶象看本質，識彆齣隱藏在甜言蜜語下的“巫婆”。 擁抱韌性： 麵對生活中的“繼母”和“挫摺”，故事中的英雄們教導我們，真正的力量源於內心的純淨和不屈的意誌。 文化溯源： 閱讀這些故事，就是與歐洲數百年來的集體潛意識進行對話，理解西方文化符號和思維模式的深層根源。 本書收錄的版本，力求還原格林兄弟最初的版本風貌，輔以詳盡的背景注釋和文化解讀，旨在讓今天的讀者，無論是成人還是孩子，都能跨越語言和時代的隔閡，直接觸摸到這些故事最初、最原始的生命力。 《格林童話全集》，不隻是給孩子的禮物，更是獻給所有渴望探尋人性深處與古老智慧的成年人的一部不朽經典。

評分☆☆☆☆☆

這次的閱讀體驗，與其說是讀一本書，不如說是一次深入心靈的對話。初次接觸這本書，我被它的標題所吸引，以為會是一個輕鬆愉快的童話，然而，隨著閱讀的深入，我發現它遠不止於此。書中通過愛麗絲的視角，對成人世界的荒誕和不閤邏輯進行瞭深刻的諷刺。那些所謂的“規則”在仙境中被徹底顛覆，那些“正常”的對話變得支離破碎，這種強烈的反差讓我在忍俊不禁的同時，也不禁思考起我們現實生活中的許多“理所當然”。作者的語言充滿瞭智慧，字裏行間流露齣對人性、對社會現象的洞察。我特彆欣賞書中的一些對話，它們看似無厘頭，實則蘊含著深意，仿佛在挑戰我們固有的思維模式。愛麗絲在經曆這一切時所錶現齣的堅持和睏惑，也讓我深有共鳴。她試圖理解這個世界，但又始終保持著一份純真和質疑，這種態度正是我們在麵對復雜現實時所需要的。這本書不僅僅是給孩子的，更是給所有在成人世界中感到迷失的靈魂的。它提醒我們，即使身處睏境，也不要忘記保持一顆探索的心，不要害怕質疑，因為真正的智慧往往隱藏在那些看似瘋狂的想法之中。

評分☆☆☆☆☆

這本書就像一扇通往另一個維度的門，一旦踏入，便再也無法迴到原來的軌道。從我拿到這本書的那一刻起，我就被它獨特的魅力所俘獲。愛麗絲的旅程不是一條直綫，而是一連串的驚喜和意外。我被書中那些天馬行空的想象力深深摺服，那些會動的撲剋牌、能夠說話的動物、以及那些變化莫測的場景，都如同電影畫麵一般在我腦海中閃過。作者的敘事方式非常巧妙，他能夠將最不閤邏輯的事情描繪得栩栩如生，讓人不得不相信那些荒誕的現實。我尤其喜歡書中對於夢境和現實的模糊界定，這種界限的模糊讓整個故事充滿瞭神秘感和不可預測性。每一次愛麗絲的改變，無論是身體大小的變化，還是周圍環境的瞬間切換，都讓我感到既驚奇又興奮。這本書不僅僅是情節上的引人入勝，更在於它對想象力的極緻發揮。它鼓勵讀者跳齣思維定勢，去擁抱那些不尋常的可能性。我常常會反復閱讀其中的一些段落，因為我發現每一次閱讀都能發現新的細節，新的理解。這本書就像一個永遠不會枯竭的寶藏，每次挖掘都能收獲新的驚喜。

評分☆☆☆☆☆

這本書簡直是我近期閱讀中最令人驚艷的寶石！從翻開第一頁起，我就被一種奇妙的力量深深吸引，仿佛瞬間穿越到瞭一個顛覆常理、充滿想象力的世界。作者以其天馬行空的構思，構建瞭一個如此生動鮮活的愛麗絲，她的好奇心、她的迷茫、她的勇氣，都仿佛觸手可及。讀著愛麗絲在仙境中的種種奇遇，時而是與脾氣古怪的瘋帽子喝茶，時而是與高傲的紅心王後周鏇，每一個場景都充滿瞭令人捧腹的幽默和令人迴味的哲思。這本書的文字本身就如同魔法，充滿瞭精巧的比喻和意想不到的轉摺，讓人在字裏行間感受到一種獨特的韻律感。我尤其喜歡書中對角色設定的獨到之處，每一個配角都個性鮮明，無論是狡黠的柴郡貓，還是行動遲緩的渡渡鳥，都給我留下瞭深刻的印象。這不僅僅是一個童話故事，更像是一場關於成長、關於認知、關於現實與虛幻之間界限的探索。它讓我重新審視瞭許多習以為常的事物，甚至在閱讀過程中，我時不時會停下來，思考書中所傳達的某種隱喻，那種感覺非常奇妙。平裝的版本也恰到好處，便於攜帶，隨時隨地都能沉浸在這場奇妙的旅程中。

評分☆☆☆☆☆

這是一本能夠喚醒內心沉睡的孩子，並讓成年人重新審視世界的奇書。我必須承認，這本書的內容遠超齣瞭我最初的預期。我原本以為會是一個簡單的童話故事，但很快我就意識到，它蘊含著深刻的哲理和對現實的巧妙諷刺。愛麗絲的經曆，與其說是冒險，不如說是她對這個荒謬世界的探索與質疑。書中充斥著各種奇怪的角色和離奇的情節，這些元素的組閤，恰恰展現瞭作者對成人世界的洞察。那些規則的製定者，那些遵循規則的人，在作者的筆下顯得如此滑稽而可笑。我特彆喜歡書中對語言的運用，那些雙關語、那些邏輯上的混亂，都仿佛在嘲弄我們對“正常”的定義。愛麗絲在其中扮演的角色，不僅僅是觀察者，更是挑戰者。她用自己的方式試圖理解這個世界，即便屢屢碰壁，也未曾放棄。這本書讓我深刻地意識到，很多我們認為理所當然的事情，或許隻是因為我們從未去質疑過它們。它是一次關於認知升級的旅程，一次對既定現實的挑戰。

評分☆☆☆☆☆

這本書帶給我的感受，是一種久違的純粹的閱讀樂趣，仿佛迴到瞭童年時光，被一個充滿瞭魔法和驚喜的故事所包裹。我被愛麗絲的視角所吸引，跟著她一起踏上瞭一段匪夷所思的旅程。書中的每一個場景都充滿瞭畫麵感，仿佛作者將我們直接置身於那個奇妙的世界之中。我喜歡那些齣人意料的轉摺，每一次愛麗絲遇到的新角色，每一次她進入的新場景，都讓我充滿期待。書中的幽默感非常獨特，它不是那種直白的笑話，而是隱藏在情節和對話的巧妙之處，讓人在迴味中感受到一種會心的微笑。我尤其欣賞作者對想象力的不設限，他能夠將最不可能的事情變得閤情閤理，這種能力實在是令人驚嘆。愛麗絲的旅程，與其說是在尋找齣路，不如說是在不斷地發現這個世界的奇妙之處。這本書就像一串閃閃發光的珍珠，每一顆都蘊含著獨特的色彩和光芒，串聯在一起，便成瞭這個令人難忘的奇境。它讓我重新相信，生活充滿瞭無限的可能性，隻要我們敢於去探索，敢於去想象。

評分☆☆☆☆☆

京東買書很放心，是正版圖書，有問題退換也方便

評分☆☆☆☆☆

很喜歡的書，趁著活動入手

評分☆☆☆☆☆

小朋友很喜歡的書，不錯呢

評分☆☆☆☆☆

適閤有一定詞匯量的寶寶

評分☆☆☆☆☆

印刷質量很不錯，內容不難，說實話這封麵有點難看………………

評分☆☆☆☆☆

滿減活動時購入的，還沒看完。京東的物流一如既往的給力。包裝也還可以。就是書有點小，質量有點輕。

評分☆☆☆☆☆

難得的英文原版，印刷精美無異味。設計符閤孩子的心理特點和年齡特徵，非常適閤用於兒童英語遊戲與教學。

評分☆☆☆☆☆

超牛掰的繪本，必須愛！11月活動，訂單量超大，也能按時發貨。雖有些慢，也可以理解。完全沒問題，超級贊！不愧是名傢之作！信賴京東！“畫齣來的書”，指一類以繪畫為主，並附有少量文字的書籍。繪本不僅是講故事，學知識，而且可以全麵幫助孩子建構精神，培養多元智能（繪本和普通的圖畫書有區彆）。繪本是發達國傢傢庭首選的兒童讀物，國際公認“繪本是最適閤幼兒閱讀的圖書”。

評分☆☆☆☆☆

非常棒，質量排版都喜歡，很厚，要靜心閱讀，感覺買來是要做閱讀理解的