你好，我查找了一下。找到了这个故事的简介！不过你说错了，标题是“THE BLUE JAR”最后是“JAR”（陶罐），而不是“jia”。
　　现在我解答一下，不过使用中文解释，自己转化为英文吧！
　　1。How much do you learn of the historical background？Is the setting important？（关键词：历史背景，作用。）
　　这点我没去查，Isak Dinesen的背景，或者故事的背景不太清楚。
　　2。Some say it is Romance，do you agree？Why or why not？（关键词，是否浪漫故事？）
　　不是，这是个悲剧故事。女主人公一辈子都在追逐她的理想，但是，对于她不是悲剧的人生在读者眼中却是一个悲剧。概括来说，这是一个“9 days with a sailor, whole life to find a blue jar”的故事。
　　3。What does the“blue jia”stand for？why should it be “blue”？What does the blue color represent？（蓝色的象征、含义。）
　　A：1－她一生孜孜追求的蓝色实际上就是她在海里边生存着的唯一颜色：天是蓝的，海是蓝的。在那九天里，她完成了她人生的意义，然后用一生去寻找这种意义。
　　2－在希腊神话中，蓝色是水，水是生命的象征。
　　3－尊贵的颜色。
　　jar是一个圆形的容器，她象征了子宫－－母体。Blue又代表着生命，因此，把她的心脏放回到母体当中，暗示了一种生命的循环，人类生生不息的意思。
　　其次，她从小就没有感受到母爱，所以她很想回到母亲的子宫中去。
　　4。what psychological state is Lady Helena in？Does it have something to do with what has happened at sea？If so，what do you think has （not）happened？
　　5最后的这句话给人们一个充满希望的结尾：“Is it not a sweet thing to think that, if only you have patience, all that has ever been, will come back to you？”
　　不好意思啊，我只是一个高中生，通过一个故事简介能整理出来的答案也就这些了！只有2、3个，呵呵。
　　不过如果你有全文的话，发给我 etxtbook@126.com 我可以阅读一下，再来作答！因为没有原文实在很难回答啊，俺找不到。3Q

Oliver Twist
After reading this book, in my mind a long time can not quell. Poor Oliver, already suffering under the loss of family members, but also has been so much torment.I really do not know, under his thin body, has what will enable him to persevere, so that he was hungry, cold, loneliness, sadness, suffering under the tenacious struggle.Oliver suffers great pain, but his yearning for a better life, longing for life is to support the strength of his progress!
We live in a honey jar, Fuk nest, they are still complaining, always satisfied.But we have thought that in the world, there are many children, are suffering great pain; positive and hunger, cold, disease, war; are facing loss of their loved ones, wandering street life.And like them as living things, should we be able to see them? No, we can not! Let us hands and brain, to help them to satisfy their thirst for life!

英国一位富有的老先生，年轻时任过内阁大臣，也当选过议会议员；如今年纪大了，无欲无求，独爱搜藏青瓷老古董。为此他偕同女儿海琳娜，不惜远渡重洋到波斯，日本还有中国寻觅爱物。一个寂静之夜，这对父女坐的轮船进入中国海域时意外失火了。漆黑和混乱之中，别的乘客很快转移到救生船中，海琳娜却还在着火的船上，就这样与老父亲断了联系。等她逃上甲板，整艘船已被烧毁得差不多了，眼看就要将她葬身火海。这时一位年轻的英国水手出现了，二话不说背起她，安全登上最后那只被逃生者们慌乱之下遗忘的救生船。黑暗的海面泛起大片磷光，犹如大火从四面八方涌来，追赶吞噬着这两个亡命者。彼时，二人仰起头，一颗流星划过夜空，好像瞬间就要落入他们船里一样。整整九天过去，两人才被救上一条荷兰商船，最后总算回到了英国。
原以为女儿早已葬身火海的老爵士这会是喜极而泣，不能自已。为了让身心受难的女儿尽早康复，老先生匆匆将她安顿在一个温泉疗养胜地。他还想到，万一这个在航海业谋生的年轻水手大嘴巴，全世界都会知道海伦娜和一个陌生男人孤男寡女在海上漂了九天，这肯定会让女儿很不开心。于是老爵士给了水手一大笔钱，并让他承诺只在另一个半球继续航海，永远不再回英国。老先生说，这不正是好人做到底吗？
海伦娜身体恢复得差不多时，旁人给她讲王宫和家族的动态，最后还说了那个救她的年轻水手永远离开英国的来龙去脉，他们发现海伦娜精神上依旧受那次大难折磨着，而且她变得对世间一切事都不在乎了。她不想回到父亲大庄园的城堡，也不想去宫里，或游览任何一个欧洲怡人小镇。她唯一想要做的事就是和父亲以前一样，去搜集珍稀青瓷。于是海琳娜开始航海旅行，从一个国家到另一个国家，这次是父亲一直陪在左右。
寻找青瓷时，海琳娜跟卖瓷器的人说，她正在找一种特别的蓝色，愿意为之付出任何代价。她买过数千只青瓷罐和瓷碗，但过一段时间就搁到一旁，叹道：“唉，这不是我想要的那种蓝呢。” 陪她航行多年的父亲劝道：也许根本就没有这种颜色存在吧。“天啊，爸爸，你怎能说这种丧气话呢？曾几何时我们的世界一切都是蓝蓝的，肯定会有那么一些遗留下来啊。”海琳娜十分坚定地说。
远在英国的两位姑妈都恳求外甥女回家，并要给她介绍好人家。但海琳娜回答说：“不不不，我必须去航行。亲爱的姑姑啊，你们一定都知道，有学之士宣扬大海是有底的，那是谬论胡说。正好相反，大自然中最高贵的海水，肯定是贯通大地的，所以我们的地球实际上像一个肥皂泡般浮在宇宙之中。而在另一个半球有这么一艘船航行着，我的船必须跟它齐驱并驾。在深海之中，两只船像是彼此的倒影。我乘的船正下方就是前面所说的那艘船，它就在地球的另一面行驶着。你们从没见过会有一条很大很大的鱼在船底之下，如一个暗黑的影子在海里随船而行吧。但我们这两艘船恰恰就是这样，不管我坐的船在地球大部分区域穿行到哪，另一个半球那只船就像影子一样，被牵引着来回移动，这和潮水在月亮的引力下涨起退去是差不多的道理。如果我停止航行，那些靠航海谋生的出身不好的水手怎么办？” 海琳娜还说：“我得告诉你们一个秘密，在最后的最后，我坐的船会下沉，直到地球中心，另一只船也会在同一时间沉下来，就如通常人们说的沉没。但我可以向你们保证，在海里没有你上我下，因为在世界的最中心，我们两只船会相遇在一起。
一年又一年过去，老爵士作古了，海伦娜也变成失聪的老太太，却未曾停止航行。大清帝国的颐和园被入侵洗劫后，有位商人给她带来了一个古老的青瓷罐。一看到它海琳娜就发出一声可怕的尖叫：“就是它！”她哭喊着：“我总算找到了！这是真正的蓝！瞧，它真让人晕眩！天啊，它清新得像一阵柔美的微风，又深邃得好如一个玄妙的秘密，还圆润得像我说过的什么来着？”海琳娜双手颤颤巍巍，将瓷罐捧入怀里，静静凝思着，六个小时就这么过去了。其后她对私人医生和女伴说：“现在我可以死去了。到时请把我的心取出来，安放在这个青瓷罐里，那样一切都回到最初的模样。我的世界会化作蓝色，在这个纯蓝天地的最中心，我的心纯洁而自由，还会温柔地跳动，像轮船航海的尾波轻轻哼唱，像桨叶划动的水滴盈盈滑落。”一小会儿后她问到：“相信只要怀着耐心，一切美好都能重现——这不是一件很杏糊的事吗？” 不久之后，老太太离开了人世。

The Boy in the Striped Pyjamas
Irish writer John Boyne's fourth novel is the first he has written for children. It's a touching tale of an odd friendship between two boys in horrendous circumstances and a reminder of man's capacity for inhumanity.
Bruno is a nine-year-old boy growing up in Berlin during World War II. He lives in a five-storey house with servants, his mother and father and 12-year-old sister, Gretel. His father wears a fancy uniform and they have just been visited by a very important personage called the Fury, a pun which adult readers should have no trouble deciphering. As a consequence of this visit, Bruno's father gets a new uniform, his title changes to Commandment and, to Bruno's chagrin, they find themselves moving to a new home at a place called Out-With.
When Bruno gets there he is immediately homesick. He has left his school, his three best friends, his house, his grandparents and the bustling street life of urban Berlin with its cafes, fruit and veg stalls, and Saturday jostle. His new home is smaller, full of soldiers and there is no one to play with. From his bedroom window, however, he notices a town of people dressed in striped pyjamas separated from him by a wire fence. When he asks his father who those people are, he responds that they aren't really people.
Bruno is forbidden to explore but boredom, isolation and sheer curiosity become too much for him. One day, he follows the wire fence cordoning off the area where these people live from his house. He spots a dot in the distance on the other side of the fence and as he gets closer, he sees it's a boy. Excited by the prospect of a friend, Bruno introduces himself. The Jewish boy's name is Shmuel. Almost every day, they meet at the same spot and talk. Eventually, for a variety of reasons, Bruno decides to climb under the fence and explore Shmuel's world.
After some initial tonal clunkiness where you can almost detect the author thinking "how do I write a child", the story is an effortless read that puts you directly into Bruno's worldview. It is elegant story-telling with emotional impact and an ending that in true fairytale style is grotesquely clever.
Bruno's friendship with Shmuel is rendered with neat awareness of the paradoxes between children's naive egocentricity, their innate concept of fairness, familial loyalty and obliviousness to the social conventions of discrimination. The Boy in the Striped Pyjamas is subtitled A Fable and, as in other modern fables such as Antoine de St Exupery's The Little Prince, Boyne uses Bruno to reveal the flaws in an adult world.
For me, as an adult reader, however, the fact that this fable is set in living history - the Holocaust - did, at times, jar. I couldn't help comparing it to the immediacy and complexity of Primo Levi's If This is a Man, or, to stick with children, The Diary of Anne Frank. From a perspective of German complicity in the Holocaust, books such as
Christa Wolf's superb A Model Childhood provide images of what it was like to have had a Nazi childhood, making this tale seem rather implausible.
Given his father's rank, it's highly likely Bruno would have been a brainwashed acolyte of the Hitler Youth. Perhaps fables are best when, like the The Little Prince with its asteroid settings, they are insulated by either time or imagination from actual history.
Still, these are adult quibbles about a children's book and probably unfair because of it, even if there is a sense this novel has ambitions to follow in the steps of The Little Prince (or Harry Potter, for that matter) and become one of those children's novels that adults read.
None of the scruples above should affect the reading pleasure of the book's primary audience. I wanted to test-drive The Boy in the Striped Pyjamas book with a nine-year-old but none could be bribed into reading it within the necessary timeframe for this review. Nevertheless, at the risk of using intuition instead of market research, I envisage children will identify with and be moved by this story, just as I was by books such as Ian Serraillier's The Silver Sword at a similar age.
Be prepared, however. In its allusiveness, The Boy in the Striped Pyjamas will provoke questions about the abhorrent conditions in which it is set and you may well find yourself needing to explain the Holocaust.
Irish writer John Boyne's fourth novel is the first he has written for children. It's a touching tale of an odd friendship between two boys in horrendous circumstances and a reminder of man's capacity for inhumanity.
Bruno is a nine-year-old boy growing up in Berlin during World War II. He lives in a five-storey house with servants, his mother and father and 12-year-old sister, Gretel. His father wears a fancy uniform and they have just been visited by a very important personage called the Fury, a pun which adult readers should have no trouble deciphering. As a consequence of this visit, Bruno's father gets a new uniform, his title changes to Commandment and, to Bruno's chagrin, they find themselves moving to a new home at a place called Out-With.
When Bruno gets there he is immediately homesick. He has left his school, his three best friends, his house, his grandparents and the bustling street life of urban Berlin with its cafes, fruit and veg stalls, and Saturday jostle. His new home is smaller, full of soldiers and there is no one to play with. From his bedroom window, however, he notices a town of people dressed in striped pyjamas separated from him by a wire fence. When he asks his father who those people are, he responds that they aren't really people.
Bruno is forbidden to explore but boredom, isolation and sheer curiosity become too much for him. One day, he follows the wire fence cordoning off the area where these people live from his house. He spots a dot in the distance on the other side of the fence and as he gets closer, he sees it's a boy. Excited by the prospect of a friend, Bruno introduces himself. The Jewish boy's name is Shmuel. Almost every day, they meet at the same spot and talk. Eventually, for a variety of reasons, Bruno decides to climb under the fence and explore Shmuel's world.
After some initial tonal clunkiness where you can almost detect the author thinking "how do I write a child", the story is an effortless read that puts you directly into Bruno's worldview. It is elegant story-telling with emotional impact and an ending that in true fairytale style is grotesquely clever.
Bruno's friendship with Shmuel is rendered with neat awareness of the paradoxes between children's naive egocentricity, their innate concept of fairness, familial loyalty and obliviousness to the social conventions of discrimination. The Boy in the Striped Pyjamas is subtitled A Fable and, as in other modern fables such as Antoine de St Exupery's The Little Prince, Boyne uses Bruno to reveal the flaws in an adult world.
For me, as an adult reader, however, the fact that this fable is set in living history - the Holocaust - did, at times, jar. I couldn't help comparing it to the immediacy and complexity of Primo Levi's If This is a Man, or, to stick with children, The Diary of Anne Frank. From a perspective of German complicity in the Holocaust, books such as
Christa Wolf's superb A Model Childhood provide images of what it was like to have had a Nazi childhood, making this tale seem rather implausible.
Given his father's rank, it's highly likely Bruno would have been a brainwashed acolyte of the Hitler Youth. Perhaps fables are best when, like the The Little Prince with its asteroid settings, they are insulated by either time or imagination from actual history.
Still, these are adult quibbles about a children's book and probably unfair because of it, even if there is a sense this novel has ambitions to follow in the steps of The Little Prince (or Harry Potter, for that matter) and become one of those children's novels that adults read.
None of the scruples above should affect the reading pleasure of the book's primary audience. I wanted to test-drive The Boy in the Striped Pyjamas book with a nine-year-old but none could be bribed into reading it within the necessary timeframe for this review. Nevertheless, at the risk of using intuition instead of market research, I envisage children will identify with and be moved by this story, just as I was by books such as Ian Serraillier's The Silver Sword at a similar age.
Be prepared, however. In its allusiveness, The Boy in the Striped Pyjamas will provoke questions about the abhorrent conditions in which it is set and you may well find yourself needing to explain the Holocaust.

"Adventures of Tom Sawyer" is a major American writer Mark Twain in the United States children's life as the main written. The story background of the times, a nineteenth century the United States Mississippi River in St. Petersburg. Tom is a hero of the story naive, lively and playful yet the typical American teenager. He and Wild Child Shack, the dry out a lot of wonderful things spectacle of himself. Tom ordered to paint the walls, like, actually Shi out of tricks, not only the work of other children willing to replace him, but also automatically brings in Xie. Eventually we escaped to a desert island to the Shack, people thought they were drowned, and was the church for their funerals, but they are hiding in the church's bell tower on the eavesdropping. These naughty moves, although we do not give a model, but he interests of justice, resolutely to come forward as a witness, to rescue the innocent criminals Mo Fu Bide. And naughty while, actually, and Shack cracked a murder case, has become the admiration of the little hero. It seems that Tom is also worthy of our study areas. In fact, naughty kids sometimes are embodied in the child's innocence. Such innocence after a difficult childhood Zaixun, allow us to find, only a little bit of occasional sweet memories will remember. I believe that, even if your childhood again hard, in retrospect you will be very happy. Who has not done one and a half pieces of a child so stupid? The more you grow, the more you will find these stupid fun. I said that childhood is like a jar of rum, but after longer taste more fragrant, more pure, the more people aftertaste. People always grow up, in addition to tall stature, and body strong, the outside people's thoughts are long. Your view of the world is different, sensible, and is no longer naive. But people have to get better is. Adventures of 10 million can not be like that inside the ruthless scoundrel Lovejoy, he did a bad thing to do, disgusting. But in the end he Eyouebao got one starved to death in caves end. 《汤姆索亚历险记》是美国大文豪马克·吐温以美国少年生活为主体写成的。故事的时代背景，是十九世纪美国密西西比河的圣彼得堡。 故事的主人公汤姆是个天真、活泼而又顽皮的典型美国少年。他和野孩子夏克，各干出了许多令人捧腹的妙事。像汤姆被罚粉刷围墙，竟施出诡计，不但使别的孩子心甘情愿代替他工作，还自动奉上谢礼。后来和夏克逃到荒岛去，人们以为他们淹死了，正在教堂为他们举行丧礼，而他们却躲在教堂的钟楼上偷听。这些顽皮的举动，虽然不能给我们做模范，但是，他为了正义，毅然地挺身出来作证人，拯救那无辜的罪犯沫夫彼得。并在顽皮之余，居然和夏克破获了一桩谋杀案，成为众人钦佩的小英雄。看来，汤姆也有值得我们学习的地方。 其实孩子的顽皮有时候正好体现了孩子的天真烂漫。 这种童真过了孩童时代就很难再寻，能让我们找到的，就只有一点点偶尔才会想起的甜蜜回忆。我相信，即使你的童年再艰苦，回想起来你也会很开心。谁没有在小时候做过一件半件的傻事？当你越长大，你就会越觉得这些傻事有趣。 我说童年就像一罐甜酒，时隔越久，尝起来就越香，越纯，越让人回味。 人总是会长大的，除了个儿长高了，身子强壮了以外，人的思想也在长。你对世界的看法不同了，懂事了，不再幼稚了。不过人是要越变越好才是。千万不能像历险记里的那个心狠手辣的坏蛋卓伊一样，他坏事做尽，人见人憎。但最后他还是恶有恶报，得到了一个活活饿死在山洞里的下场。