User:Koala0090/穿靴子的貓

古斯塔夫·多雷在19世纪为《穿長靴的猫》作的雕版图

《穿靴子的猫》（"義大利語：Il gatto con gli stivali"，"法語：Le Maître chat ou le Chat botté"）是一個歐洲的童話寓言故事。故事的內容是在描述一隻貓如何運用詭計和騙術，讓牠一貧如洗、下層階級出生的主人最終獲得權勢、財富以及奪得美人歸。目前以知最早的版本出自《愉快的夜晚》（約1550–53年）的第十四和十五章，作者為義大利作家喬凡尼·法蘭西斯科·斯特拉帕羅拉。後來吉姆巴地斯达·巴西耳所寫的另一個故事版本《卡格柳索》（"義大利語：Cagliuso"）也於1634年出版。17世紀末葉，法蘭西學術院院士夏爾·佩羅，於公職退休後將故事以法語改寫。這篇故事以手抄本的形態問世並附有插圖手稿，兩年後，這篇故事和佩羅的其它故事一起合稱做《鵝媽媽故事集》，由Barbin在1697年出版。這本書出版後一砲而紅，並且流傳至今。

Perrault's Histoires has had considerable impact on world culture. The original Italian title of the first edition was Costantino Fortunato, but was later known as Il gatto con gli stivali (lit. The cat with the boots); the French title was "Histoires ou contes du temps passé, avec des moralités" with the subtitle "Les Contes de ma mère l'Oye" ("Stories or Fairy Tales from Past Times with Morals", subtitled "Mother Goose Tales"). The frontispiece to the earliest English editions depicts an old woman telling tales to a group of children beneath a placard inscribed "MOTHER GOOSE'S TALES" and is credited with launching the Mother Goose legend in the English-speaking world. "Puss in Boots" has provided inspiration for composers, choreographers, and other artists over the centuries. The cat appears in the third act pas de caractère of Tchaikovsky's ballet The Sleeping Beauty, for example, and makes appearances in other media, most famously the sequels to the animated film Shrek (film). Puss in Boots is a popular pantomime in the UK.

佩羅的故事對於世界文化的影響甚鉅。在原始的義大利版本，這篇故事的標題名稱叫做“Costantino Fortunato”(康斯坦丁的幸運)，而其後來改為“ll gatto con gli stivali”(穿靴子的貓)；法語則稱作“Histoires ou contes du temps passé, avec des moralités”《附道德訓誡的古代故事》，副題為《鵝媽媽故事集》。在早期英文版的故事序章裡頭，描述了一位老太太在一個刻著“鵝媽媽故事”的看板底下說故事給一群小孩聽，而據信英文的“鵝媽媽”即是由此而來。《穿長靴的貓》在過去的幾個世紀以來也為不少的作曲家、舞蹈編劇及藝術家提供了不少藝術創作的靈感。舉例來說，這隻貓出現在柴可夫斯基的芭蕾舞劇《睡美人》中的第三幕，同時也出現其它的各式各樣的媒體上。不僅如此，《穿長靴的貓》在英國也是一個廣受歡迎的啞劇題材。

情節

The tale opens with the third and of a miller receiving his inheritance—a cat. At first, the youngest son laments, as the eldest brother gains the mill, and the middle brother gets the mules. The feline is no ordinary cat, however, but one who requests and receives a pair of boots. Determined to make his master's fortune, the cat bags a rabbit in the forest and presents it to the king as a gift from his master, the fictional Marquis of Carabas. The cat continues making gifts of game to the king for several months.

故事的開頭是這樣的，有一個在磨坊家中排行第三的老么得到了一隻貓做為父親過世的遺產。起初，這名兒子感嘆家中的長子繼承了磨坊，次子繼承了騾子，自己卻一無所有。然而他所繼承這隻貓並非是普通的貓，而是隻會向主人要靴子的貓。貓為了使牠的主人獲得財富，替主人杜撰了一個虛構的卡拉巴斯侯爵身分，並想辦法弄了隻森林野兔，以侯爵的名義將野兔敬獻給國王。貓的打獵行為持續了數個月。

Puss meets the ogre in a nineteenth-century illustration by Gustave Doré

One day, the king decides to take a drive with his daughter. The cat persuades his master to remove his clothes and enter the river which their carriage passes. The cat disposes of his master's clothing beneath a rock. As the royal coach nears, the cat begins calling for help in great distress. When the king stops to investigate, the cat tells him that his master the Marquis has been bathing in the river and robbed of his clothing. The king has the young man brought from the river, dressed in a splendid suit of clothes, and seated in the coach with his daughter, who falls in love with him at once.

有一天，國王決定要和女兒一同出遊。貓說服了牠的主人脫掉衣服跳入了國王馬車會經過的河裡，並將主人的衣服藏在了石頭下方。當王室的馬車行駛到附近，貓便痛哭流涕的向他們尋求協助。就在國王一行人停下馬車想要一探究竟時，貓告訴他們，牠的主人卡拉巴斯侯爵被人丟到了河裡並奪去了衣服。國王命人將這名年輕人扶上岸，給他穿上華麗的衣裳，並讓他與自己的女兒共乘一輛馬車，公主見到這位年輕人後則是對他一見鍾情。

The cat hurries ahead of the coach, ordering the country folk along the road to tell the king that the land belongs to the "Marquis of Carabas", saying that if they do not he will cut them into mincemeat. The cat then happens upon a castle inhabited by an ogre who is capable of transforming himself into a number of creatures. The ogre displays his ability by changing into a lion, frightening the cat, who then tricks the ogre into changing into a mouse. The cat then pounces upon the mouse and devours it. The king arrives at the castle that formerly belonged to the ogre, and, impressed with the bogus Marquis and his estate, gives the lad the princess in marriage. Thereafter, the cat enjoys life as a great lord who runs after mice only for his own amusement.

另一方面，貓則趕在馬車前面沿路命令所有的人告訴國王，這塊地是屬於卡拉巴斯侯爵所有，否則他們將會被剁成碎肉。說完後貓便趕往一座城堡，城堡裡住著一個擁有變身能力的怪物。這名怪物首先變成一頭獅子要嚇唬貓，然而貓卻運用一些伎倆讓怪物變成了老鼠，接著貓便將老鼠吞下肚。當國王抵達這座城堡時，以為這是卡拉巴斯侯爵的財產，便欣然的讓公主嫁給了年輕人。此後，貓享受著牠的權貴生活，只會為了娛樂去抓老鼠。故事到這邊結束，並緊接著兩則啟示：一則是強調擁有事業和專業知識的重要性，另一則是好的衣著、容貌、還有保持青春才能贏得美人的芳心。義大利的翻譯家卡洛·科洛迪在文中註記道，如果你剛好是這隻貓或是卡拉巴斯侯爵，這將會是一個非常有用的建議。以上就是在法國境內家喻戶曉的故事內容，另外在亞洲、非洲、南美洲也流傳著其他不同的版本。

The tale is followed immediately by two morals: "one stresses the importance of possessing industrie and savoir faire while the other extols the virtues of dress, countenance, and youth to win the heart of a princess." The Italian translation by Carlo Collodi notes that the tale gives useful advice if you happen to be a cat or a Marquis of Carabas.

This is the theme in France, but other versions of this theme exist in Asia, Africa, and South America.

背景

佩羅的《精明的貓》或是《穿長靴的貓》在西方民間故事裡是廣為流傳會幫助主人的動物能手。然而，這隻招搖撞騙的貓並不是佩羅所創造的角色。在佩羅的故事集發行的數個世紀前，有名叫做Somadeva的人，他是位婆羅門階級的克什米爾人。Somadeva收集了一些具特色人物、服裝的印度民間故事，並把這本故事合集叫做Kathā Sarit Sāgara (英語稱做：The ocean of the streams of stories)。故事內容收錄了不敗之劍、補給船或是報恩的動物等故事。在五卷書(英語稱做"Five Principles"，一個西元5世紀的印度童話故事選集)中也有一篇關於貓的故事，但這隻貓比起佩羅《穿長靴的貓》表現的要差勁的多了，牠企圖在國王的皇宮謀取財富。 1553年，另一個與《穿長靴的貓》相似的故事叫《康斯坦汀的幸運》收錄在歐洲的第一本童話故事集《愉快的夜晚》(英語：The Facetious Nights)，為Giovanni Francesco Straparola所著，並在威尼斯發行。然而，在Straparola的故事裡，作為主角可憐年輕人是一個波西米亞人的孩子，故事裡的貓是一個妖精偽裝的，裡頭的公主則是叫Elisetta，同時故事裡的城堡並不屬於一個怪物，而是屬於一個意外身亡的城主。最終，這名可憐的年輕人成為了波西米亞的國王。Straparola其中的一個故事版本在1560年於法國出版。故事的口述版本在當時廣為流傳，Straparola可能引用了其中一個故事，然而也有一些跡象顯示這個故事可能是Straparola的原創作品。 1634年，另一個以招搖撞騙的貓為主人翁的故事刊登在吉姆巴地斯達·巴西耳的收藏集《五日談》中。然而在佩羅的一生中（1608~1703），這個收藏集和這篇故事並未在法國出版。故事裡有個地方叫巴西萊，一名叫Gagliuso（有時叫Cagliuso）的乞丐男孩，他的命運在某種程度上類似佩羅的穿長靴的貓，但這篇故事的結局卻截然不同。Cagliuso為了感謝貓，承諾在貓死後會給牠一副黃金做的棺材。三天後，貓決定裝死來測試Gagliuso是否會遵守承諾，然而貓卻羞憤的聽到Gagliuso叫他的妻子拎起貓的腳把牠扔到窗外去。貓一躍而起，質問乞丐男孩這是否就是牠幫助男孩過上更好生活後所遭受的待遇。接著貓便怒氣沖沖地離開了，留下他的主人獨自謀生。在另一種版本中，貓則顯現得非常勇敢，接著一位仙子出現，幫助牠變回一隻普通的貓，使牠能與其它同類相處。 有一些跡象顯示出佩羅有可能知道Straparola的故事內容，因為在十六世紀《愉快的夜晚》被翻譯成法語，隨即就被人們口耳相傳。

Handwritten and illustrated manuscript of Perrault's "Le Maître Chat" dated 1695

Perrault's "The Master Cat, or Puss in Boots" is the most renowned tale in all of Western folklore of the animal as helper. However, the trickster cat was not Perrault's invention. Centuries before the publication of Perrault's tale, Somadeva, a Kashmir Brahmin, assembled a vast collection of Indian folk tales called Kathā Sarit Sāgara (lit. "The ocean of the streams of stories") that featured stock fairy tale characters and trappings such as invincible swords, vessels that replenish their contents, and helpful animals. In the Panchatantra (lit. "Five Principles"), a collection of Hindu tales from the fifth century A.D., a tale follows a cat who fares much less well than Perrault's Puss as he attempts to make his fortune in a king's palace.

In 1553, "Costantino Fortunato", a tale similar to "Le Maître Chat", was published in Venice in Giovanni Francesco Straparola's Le Piacevoli Notti (lit. The Facetious Nights), the first European storybook to include fairy tales. In Straparola's tale however, the poor young man is the son of a Bohemian woman, the cat is a fairy in disguise, the princess is named Elisetta, and the castle belongs not to an ogre but to a lord who conveniently perishes in an accident. The poor young man eventually becomes King of Bohemia. An edition of Straparola was published in France in 1560. The abundance of oral versions after Straparola's tale may indicate an oral source to the tale; it also is possible Straparola invented the story.

In 1634, another tale with a trickster cat as hero was published in Giambattista Basile's collection Pentamerone although neither the collection nor the tale were published in France during Perrault's lifetime. In Basile, the lad is a beggar boy called Gagliuso (sometimes Cagliuso) whose fortunes are achieved in a manner similar to Perrault's Puss. However, the tale ends with Cagliuso, in gratitude to the cat, promising the feline a gold coffin upon his death. Three days later, the cat decides to test Gagliuso by pretending to be dead and is mortified to hear Gagliuso tell his wife to take the dead cat by its paws and throw it out the window. The cat leaps up, demanding to know whether this was his promised reward for helping the beggar boy to a better life. The cat then rushes away, leaving his master to fend for himself. In another rendition, the cat performs acts of bravery, then a fairy comes and turns him to his normal state to be with other cats.

It is likely that Perrault was aware of the Straparola tale, since 'Facetious Nights' was translated into French in the sixteenth cenury and subsequently passed into the oral tradition.

出版

這篇故事最早收錄在「愉快的夜晚」（約1550年至1553年）的第十四章到十五章，由一位義大利作家Giovanni Francesco Straparola在威尼斯出版。他原來的標題是Costantino Fortunato(中文：康斯坦汀的幸運；英語：Lucky Costantino）。 1697年1月，Barbin在巴黎出版了《精明的貓》或稱作《穿長靴的貓》，且收錄此作品的故事集被稱作《附道德訓誡的古代故事》。該系列包括《樹林中的睡美人》（The Sleeping Beauty in the Wood）、《小紅帽》(Little Red Riding Hood)、《藍鬍子》(Blue Beard)、《會魔法的人》或是《鑽石和蟾蜍》(The Enchanted Ones, or Diamonds and Toads)、《灰姑娘》(又譯作《小水晶鞋》) (Cinderella, or The Little Glass Slipper)、《長了一簇毛的里基》(Riquet with the Tuft)、《小拇指》(Hop o' My Thumb)等。書的卷頭描述了一位老太太在一個刻著“鵝媽媽故事”（也就是後來的鵝媽媽的故事集；英語：Tales of Mother Goose）的看板底下講故事給三個孩子聽。此書一出版後很快地便蔚為風潮。

出版商J. Pote 以及 R. Montagu將Robert Samber於1729 年翻譯成精明的貓(The Master Cat) 或是穿長靴的貓( Puss in Boots)的那本書與佩羅的《附道德訓誡的古代故事》，副題《鵝媽媽的故事》一同在倫敦出版。這本書在1729年6月被對外宣傳為「趣味十足並對兒童有所啟發的一本書」。英文版的卷頭和法文的第一版相當類似，此書出來後英語系國家也開始發行《鵝媽媽的故事集》。 Samber的翻譯被評價為既忠實又十分簡潔明瞭，相當引人入勝，同時其生動、輕快優雅的詼諧敘事語調，比起原文還要更深入人心。在英譯版的故事發行後，這本書隨即被廣泛的翻譯成各種語言，並在世界各地出版。

Giovanni Francesco Straparola is known as the writer of the oldest version of the tale. He probably invented the original story.

Detail of a portrait of Charles Perrault by Philippe Lallemand

The oldest record of written history was published in Venice by the Italian author Giovanni Francesco Straparola in his The Facetious Nights of Straparola (c. 1550-53) in XIV-XV. His original title was Costantino Fortunato (lit. Lucky Costantino).

Le Maître Chat, ou le Chat Botté was later published by Barbin in Paris in January 1697 in a collection of tales called Histoires ou contes du temps passé. The collection included "La Belle au bois dormant" ("The Sleeping Beauty in the Wood"), "Le petit chaperon rouge" ("Little Red Riding Hood"), "La Barbe bleue" ("Blue Beard"), "Les Fées" ("The Enchanted Ones", or "Diamonds and Toads"), "Cendrillon, ou la petite pantoufle de verre" ("Cinderella, or The Little Glass Slipper"), "Riquet à la Houppe" ("Riquet with the Tuft"), and "Le Petit Poucet" ("Hop o' My Thumb"). The book displayed a frontispiece depicting an old woman telling tales to a group of three children beneath a placard inscribed "CONTES DE MA MERE LOYE" (Tales of Mother Goose). The book was an instant success.

Le Maître Chat first was translated into English as "The Master Cat, or Puss in Boots" by Robert Samber in 1729 and published in London for J. Pote and R. Montagu with its original companion tales in Histories, or Tales of Past Times, By M. Perrault. The book was advertised in June 1729 as being "very entertaining and instructive for children". A frontispiece similar to that of the first French edition appeared in the English edition launching the Mother Goose legend in the English-speaking world. Samber's translation has been described as "faithful and straightforward, conveying attractively the concision, liveliness and gently ironic tone of Perrault's prose, which itself emulated the direct approach of oral narrative in its elegant simplicity." Since that publication, the tale has been translated into various languages and published around the world.

關於作者

人們猜測佩羅的兒子小佩羅（Pierre Darmancour）才是這本書的作者，因為有證據顯示在伊麗莎白．夏綠蒂．奧爾良（路易十四的姪女）的鵝媽媽的故事中筆名為佩羅的兒子（P. Darmancour）。老佩羅一直熱衷於鵝媽媽的故事，並在1693年出版了《荒謬的故事》的韻文，並且於1694年出版了一個像灰姑娘的主題故事稱為《驢駒皮》。此外，有五個手寫和插畫的手稿（包括精明的貓或穿靴子的貓）比1697巴黎出版的早了兩年。

這份手稿早在小佩羅十六、十七歲時就已經完成了，學者艾奧娜（Iona）和彼得·奧佩（Peter Opie）推測這個年紀的小佩羅不會對童話故事感興趣，所以不太可能是這個故事的作者。小佩羅當過兵，且並沒有顯現出對文學的愛好，而當他在1700年去世，他的訃聞中沒有提到的任何關於故事的事。然而，當佩羅於1703年去世，報紙間接有提到他有參與撰寫在1696年出版的《睡美人》。

改編

主条目：Adaptations of Puss in Boots

Perrault's tale has been adapted to various media over the centuries. Ludwig Tieck published a dramatic satire based on the tale, called Der gestiefelte Kater, and, in 1812, the Brothers Grimm inserted a version of the tale into their Kinder- und Hausmärchen. In ballet, Puss appears in the third act of Tchaikovsky's The Sleeping Beauty in a pas de caractère with The White Cat. In film and television, Walt Disney produced an animated black and white silent short based on the tale in 1922. It was also adapted into a manga by the famous Japanese writer and director Hayao Miyazaki in 1969, and in the mid-1980s, Puss in Boots was televised as an episode of Faerie Tale Theatre with Ben Vereen and Gregory Hines in the cast. Another version from the Cannon Movie Tales series features Christopher Walken as Puss, who in this adaptation is a cat who turns into a human when wearing the boots. Another adaptation of the character with little relation to the story was in the Pokémon anime episode "Like a Meowth to a Flame," where a Meowth owned by the character Tyson wore boots, a hat, and a neckerchief. DreamWorks Animation released the animated feature Puss in Boots, with Antonio Banderas reprising his voice-over role from the Shrek films, on November 4, 2011. This new film's story bears no similarities to the book. The cat food named Puss n Boots is owned by Retrobrands USA LLC and is available in the USA and Canada.

2004年的電影《史瑞克2》中有一隻穿靴子的貓串場。 近幾個世紀以來，Perrault的故事被各式各樣的媒體加以改編利用。路德維希·蒂克以《穿靴子的貓》為藍本，出版了一個充滿戲劇性的諷刺作品叫做鞋貓劍客（Der gestiefelte Kater），且1812年，格林兄弟改編了穿靴的貓並加入《兒童與家庭童話集》，俗稱《格林童話》中。穿靴的貓於柴可夫斯基的《睡美人》芭蕾舞中的第三幕與白色的貓一同登場。在電影和電視中，華特．迪士尼在1922年以這個故事為藍本改製成黑白無聲動畫。還有人在1969年改編成漫畫，那個人也就是日本著名作家和導演–宮崎駿。在80年代中期，穿靴的貓曾被電視連續劇（Faerie Tale Theatre）製作為一集並播出，其中的演員有本·沃倫和古格里·海因斯。另一個版本是出自加農電影故事系列（Cannon Movie Tales series），克里斯多夫·華肯飾演貓，這個改編的劇情是呈現出貓穿靴的時候會變成人類。另外有與這個故事沒太多相關性的改編是神奇寶貝（Pokémon anime episode）。在Like a Meowth to a Flame這一集中，泰森這個角色的喵喵穿著靴子，戴著帽子和圍巾。

Commentaries

Jacques Barchilon and Henry Pettit note in their introduction to The Authentic Mother Goose: Fairy Tales and Nursery Rhymes that the main motif of "Puss in Boots" is the animal as helper and that the tale "carries atavistic memories of the familiar totem animal as the father protector of the tribe found everywhere by missionaries and anthropologists." They also note that the title is original with Perrault as are the boots; no tale prior to Perrault's features a cat wearing boots.

Woodcut frontispiece copied from the 1697 Paris edition of Perrault's tales and published in the English-speaking world.

Folklorists Iona and Peter Opie observe that "the tale is unusual in that the hero little deserves his good fortune, that is if his poverty, his being a third child, and his unquestioning acceptance of the cat's sinful instructions, are not nowadays looked upon as virtues." The cat should be acclaimed the prince of 'con' artists, they declare, as few swindlers have been so successful before or since. The success of Histoires is attributed to seemingly contradictory and incompatible reasons. While the literary skill employed in the telling of the tales has been recognized universally, it appears the tales were set down in great part as the author heard them told. The evidence for that assessment lies first in the simplicity of the tales, then in the use of words that were, in Perrault's era, considered populaire and du bas peuple, and finally, in the appearance of vestigial passages that now are superfluous to the plot, do not illuminate the narrative, and thus, are passages the Opies believe a literary artist would have rejected in the process of creating a work of art. One such vestigial passage is Puss's boots; his insistence upon the footwear is explained nowhere in the tale, it is not developed, nor is it referred to after its first mention except in an aside.

According to the Opies, Perrault's great achievement was accepting fairy tales at "their own level." He neither recounted them with impatience nor mockery, and without feeling that they needed any aggrandisement such as a frame story—although he must have felt it useful to end with a rhyming moralité. Perrault would be revered today as the father of folklore if he had taken the time to record where he obtained his tales, when, and under what circumstances.

Bruno Bettelheim remarks that "the more simple and straightforward a good character in a fairy tale, the easier it is for a child to identify with it and to reject the bad other." The child identifies with a good hero because the hero's condition makes a positive appeal to him. If the character is a very good person, then the child is likely to want to be good too. Amoral tales, however, show no polarization or juxtaposition of good and bad persons because amoral tales such as "Puss in Boots" build character, not by offering choices between good and bad, but by giving the child hope that even the meekest can survive. Morality is of little concern in these tales, but rather, an assurance is provided that one can survive and succeed in life. Small children can do little on their own and may give up in disappointment and despair with their attempts. Fairy stories, however, give great dignity to the smallest achievements (such as befriending an animal or being befriended by an animal, as in "Puss in Boots") and that such ordinary events may lead to great things. Fairy stories encourage children to believe and trust that their small, real achievements are important although perhaps not recognized at the moment.

An early nineteenth-century engraving of Perrault surrounded by vignettes from Histoires ou contes du temps passé

In Fairy Tales and the Art of Subversion Jack Zipes notes that Perrault "sought to portray ideal types to reinforce the standards of the civilizing process set by upper-class French society". A composite portrait of Perrault's heroines, for example, reveals the author's idealized female of upper-class society is graceful, beautiful, polite, industrious, well groomed, reserved, patient, and even somewhat stupid because for Perrault, intelligence in womankind would be threatening. Therefore, Perrault's composite heroine passively waits for "the right man" to come along, recognize her virtues, and make her his wife. He acts, she waits. If his seventeenth century heroines demonstrate any characteristics, it is submissiveness.

A composite of Perrault's male heroes, however, indicates the opposite of his heroines: his male characters are not particularly handsome, but they are active, brave, ambitious, and deft, and they use their wit, intelligence, and great civility to work their way up the social ladder and to achieve their goals. In this case of course, it is the cat who displays the characteristics and the man benefits from his trickery and skills. Unlike the tales dealing with submissive heroines waiting for marriage, the male-centered tales suggest social status and achievement are more important than marriage for men. The virtues of Perrault's heroes reflect upon the bourgeoisie of the court of Louis XIV and upon the nature of Perrault, who was a successful civil servant in France during the seventeenth century.

According to fairy and folk tale researcher and commentator Jack Zipes, Puss is "the epitome of the educated bougeois secretary who serves his master with complete devotion and diligence." The cat has enough wit and manners to impress the king, the intelligence to defeat the ogre, and the skill to arrange a royal marriage for his low-born master. Puss's career is capped by his elevation to grand seigneur and the tale is followed by a double moral: "one stresses the importance of possessing industrie et savoir faire while the other extols the virtues of dress, countenance, and youth to win the heart of a princess."

The renowned illustrator of Dickens' novels and stories, George Cruikshank, was shocked that parents would allow their children to read "Puss in Boots" and declared: "As it stood the tale was a succession of successful falsehoods—a clever lesson in lying!—a system of imposture rewarded with the greatest worldly advantages."

Another critic, Maria Tatar, notes that there is little to admire in Puss—he threatens, flatters, deceives, and steals in order to promote his master. She further observes that Puss has been viewed as a "linguistic virtuoso", a creature who has mastered the arts of persuasion and rhetoric to acquire power and wealth. "Puss in Boots" has successfully supplanted its antecedents by Straparola and Basile and the tale has altered the shapes of many older oral trickster cat tales where they still are found. The morals Perrault attached to the tales are either at odds with the narrative, or beside the point. The first moral tells the reader that hard work and ingenuity are preferable to inherited wealth, but the moral is belied by the poor miller's son who neither works nor uses his wit to gain worldly advantage, but marries into it through trickery performed by the cat. The second moral stresses womankind's vulnerability to external appearances: fine clothes and a pleasant visage are enough to win their hearts. In an aside, Tatar suggests that if the tale has any redeeming meaning, "it has something to do with inspiring respect for those domestic creatures that hunt mice and look out for their masters." Briggs does assert that cats were a form of fairy in their own right having something akin to a fairy court and their own set of magical powers. Still, it is rare in Europe's fairy tales for a cat to be so closely involved with human affairs. According to Jacob Grimm, Puss shares many of the features that a household fairy or deity would have including a desire for boots which could represent seven-league boots. This may mean that the story of "Puss and Boots" originally represented the tale of a family deity aiding an impoverished family member.

Stefan Zweig, in his 1939 novel, Ungeduld des Herzens, references Puss in Boots' procession through a rich and varied countryside with his master and drives home his metaphor with a mention of Seven League Boots.

夢工廠動畫公司發行了動畫片穿靴子的貓，並請安東尼奧·班德拉斯從新啟用了他在史瑞克電影（2011年11月4日）中配音的角色。新的電影將不同於原始的故事。

名為「貓和靴」的貓飼料是由美國Retrobrands 公司所擁有，並在美國和加拿大可以買到。

電影

• 《穿靴子的猫》（1992年），日本制作的动画片
• 《鞋貓劍客》（2011年），Chris Miller导演，夢工廠出品的美国动画电影，10月28日上映。

參見

• The Tale of Kitty-in-Boots

作品引用

• Barchilon, Jacques, The Authentic Mother Goose: Fairy Tales and Nursery Rhymes, Denver, CO: Alan Swallow, 1960 
• Bettelheim, Bruno, The Uses of Enchantment, New York: Random House: Vintage Books, 1977 [1975, 1976], ISBN 0-394-72265-5 
• Brown, David, Tchaikovsky, New York: Pegasus Books LLC, 2007, ISBN 978-1-933648-30-9 
• Gillespie, Stuart and David Hopkins (编), The Oxford History of Literary Translation in English: 1660–1790, Oxford and New York: Oxford University Press, 2005, ISBN 0-19-924622-X 
• Opie, Iona; Opie, Peter, The Classic Fairy Tales, Oxford and New York: Oxford University Press, 1974, ISBN 0-19-211559-6 
• Paulin, Roger, Ludwig Tieck, Oxford and New York: Oxford University Press, 2002 [1985], ISBN 0-19-815852-1 
• Tatar, Maria, The Annotated Classic Fairy Tales, New York and London: W.W. Norton & Company, 2002, ISBN 0-393-05163-3 
• Wunderer, Rolf, "Der gestiefelte Kater" als Unternehmer, Weisbaden: Gabler Verlag, 2008, ISBN 978-3-8349-0772-1 
• Zipes, Jack David, Fairy Tales and the Art of Subversion, New York: Routledge, 1991 [1988], ISBN 0-415-90513-3 
• Zipes, Jack David, The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm: 877, 2001, ISBN 0-393-97636-X 
• Zipes, Jack David, Happily Ever After, New York: Routledge, 1997, ISBN 0-415-91851-0 

外部連結

• Origin of the Story of 'Puss in Boots'
• "Puss in Boots" – English translation from The Blue Fairy Book (1889)
• "Puss in Boots" – Beautifully illustrated in The Colorful Story Book (1941)
• （法文） Le Maître chat ou le chat botté, audio version
• LibriVox中的公有领域有声书《Master Cat, or Puss in Boots, The》

Category:1697 short stories Category:European fairy tales Category:Cats in literature Category:French fairy tales Category:Italian fairy tales Category:Literature featuring anthropomorphic characters Category:Works by Charles Perrault Category:European folklore characters Category:Fictional marquesses and marchionesses Category:Fictional tricksters