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Publishing eventually caught up.
出版方最終追上了洛克的觀點。
“The New England Primer”, first published in the 17th century, promised young readers illustrated alphabets, a “pleasant guide” to reading--and an arguably muted idea of what constitutes pleasure.
于17世紀首次出版的《新英格蘭啟蒙讀本》承諾給小讀者們提供帶插圖的字母表、“令人愉悅的閱讀指導”——以及相當模糊的關(guān)于愉悅的概念。（注：模糊的愉悅概念表示這本書根本不令人愉悅。）
From its syllabic spelling guides (three-syllable words offered “Ho-li-ness” and “God-li-ness”), to its illustrated alphabet (“y” glumly informed readers that “No Youth we see / From death is free”), the tone was sober--though it did brighten for some three- and four-syllable words (“Drunk-en-ness” and “For-ni-ca-tion”).
從這本書的音節(jié)拼寫指導（三音節(jié)的單詞示例是“神圣性”和“虔誠性”），到插圖字母表（字母Y陰沉地告訴讀者“沒有哪個年輕人/能逃過死亡的陰影”），語氣都是很嚴肅的——雖然也有一些稍微活潑點的三音節(jié)和四音節(jié)單詞（“醉酒”和“私通”）。
By comparison, the arrival of the Grimms--with their slaughter, torture and violent animal deaths (a wolf drowns, a hare dies an agonising death)--was almost larky.
與這本書相比，格林兄弟的到來——還有他們帶來的屠殺、酷刑和暴力的動物死亡（一只狼淹死了，一只野兔痛苦地死去）——幾乎可以說是輕松嬉鬧的。
Though, as Ms Schmiesing points out, their stories were not really intended for children.
不過，正如施米辛指出的，格林兄弟的故事其實不是為兒童寫的。
The Grimms were linguists, not novelists; their aim was preservation, not entertainment.
格林兄弟是語言學家，不是小說家，他們的目的是保存故事，而不是娛樂。
Industrialisation had started to creep through the ancient forests of Germany, destroying habitats, species and stories as it went.
工業(yè)化已經(jīng)開始蔓延到德國的古老森林中，破壞了棲息地、物種和故事。
Narrative naturalists, they wanted to pluck Germany’s native species of story from its fields and press them between the pages of their anthology before such tales went extinct.
作為敘事自然主義者，格林兄弟想從德國的田野中采擷本土故事品種，在這些故事滅絕之前，將它們壓在故事集的書頁之間（注：比喻制成標本）。
The aim might have been scholarly, but the result was an unexpected children’s bestseller.
這種目的可能是學術(shù)性的，但結(jié)果卻是一本出人意料的兒童暢銷書。
Not everyone approved: early readers complained about the darkness.
不是每個人都贊成這種做法：早期的讀者抱怨這些故事太黑暗。
Even the very structure of these stories was gloomy: the famous “happily ever after” ending alternated with the glummer “And if they haven’t died, they’re still alive.”
甚至連這些故事的結(jié)構(gòu)都很陰郁：著名的“從此幸福地生活在一起”的結(jié)局與更陰郁的“如果他們沒有死，那么他們就還活著”的結(jié)局交替出現(xiàn)。
The Grimms responded briskly: take the nasty bits away from children’s books and you may as well “blindfold” youngsters so they cannot see at all.
格林兄弟對此做出了犀利的回應(yīng)：如果把兒童讀物中的邪惡部分刪除，那還不如直接“蒙住孩子們的眼睛”，讓他們什么都看不見。
A look at the bestseller chart shows that books that sell sweetness do well.
看一下暢銷書排行榜就會發(fā)現(xiàn)，販賣甜蜜的書籍表現(xiàn)出色。
One ever-popular title is “Guess How Much I Love You” (1994), in which Little Nutbrown Hare spends his days trying to tell Big Nutbrown Hare how much he loves him and does not, alas, experience an agonising death.
有一本經(jīng)久不衰的童書叫《猜猜我有多愛你》（1994），在這個故事里，小兔子一整天都在告訴大兔子自己有多愛他，而且可惜的是，小兔子并沒有經(jīng)歷痛苦的死亡。
The bestselling book in America in a recent ten-year period was not Shakespeare or even Dan Brown but Dr Seuss’s “Oh, the Places You’ll Go!”.
最近十年里，美國最暢銷的書不是莎士比亞的作品，甚至也不是丹·布朗的作品，而是蘇斯博士的《你要去的地方》。（注：丹·布朗的代表作是《達芬奇密碼》，蘇斯博士是童書作者。）
Silly, scatological tomes, such as “The Fart that Changed the World”, are also in vogue.
傻里傻氣、關(guān)于糞便的大部頭書籍（比如《改變世界的屁》）也很流行。
Children’s literature has never been just for children: adults happily read “Harry Potter” and Philip Pullman.
兒童文學從來就不僅僅是給兒童讀的：成年人也很樂意讀《哈利·波特》和菲利普·普爾曼的作品。（注：菲利普·普爾曼的代表作是《黑暗物質(zhì)三部曲》）
All good children’s writers know that they are “writing for a double audience”, says Cressida Cowell, a former children’s laureate in Britain and the author of the “How to Train Your Dragon” series.
英國前桂冠兒童作家、《馴龍高手》系列的作者克蕾西達·考威爾說，所有優(yōu)秀的兒童作家都知道自己是“為雙重受眾而寫作”。
There is the child being read to and the adult doing the reading: “The very best children’s books…work on both levels.”
有正在聽大人讀書的孩子，也有正在讀書的大人：“最優(yōu)秀的兒童讀物……能吸引這兩個群體。”
Fashions in children’s literature tend to have great “swerves” says Mr Leith, followed by “massive over-compensation”.
利思說，兒童文學的潮流往往有很大的“轉(zhuǎn)變”，隨后是“大規(guī)模的過度補償”。
After a recent testy period, tensions have calmed a little: attempts to censor books fell in America from January through August 2023.
在經(jīng)歷了最近一段緊張時期之后，緊張局勢已經(jīng)有所緩和：2023年1月至8月，美國審查書籍的行為有所減少。
Penguin, after noisy complaints, reinstated the fizzwiggling parts of Dahl.
企鵝出版社在一片抱怨聲中恢復了達爾作品中“尖嘴毒舌”的部分。
Children’s books are certainly not as dark as they were in the Grimms’ time (incest sells less well these days), nor do they need to be.
兒童讀物當然不像格林兄弟時代那樣黑暗（如今亂倫題材的書沒那么好賣了），也不需要那么黑暗。
But perhaps more parents will crave books for their children that better balance dark and light, happily ever afters with big bad wolves.
但也許更多家長會渴望為孩子們找到一些能更好地平衡黑暗與光明、幸福結(jié)局與邪惡大灰狼的書籍。
