用户:Koala0090/穿靴子的猫

古斯塔夫·多雷在19世纪为《穿长靴的猫》作的雕版图

《穿靴子的猫》（"意大利语：Il gatto con gli stivali"，"法语：Le Maître chat ou le Chat botté"）是一个欧洲的童话寓言故事。故事的内容是在描述一只猫如何运用诡计和骗术，让它一贫如洗、下层阶级出生的主人最终获得权势、财富以及夺得美人归。目前以知最早的版本出自《愉快的夜晚》（约1550–53年）的第十四和十五章，作者为意大利作家乔凡尼·法兰西斯科·斯特拉帕罗拉。后来吉姆巴地斯达·巴西耳所写的另一个故事版本《卡格柳索》（"意大利语：Cagliuso"）也于1634年出版。17世纪末叶，法兰西学术院院士夏尔·佩罗，于公职退休后将故事以法语改写。这篇故事以手抄本的形态问世并附有插图手稿，两年后，这篇故事和佩罗的其它故事一起合称做《鹅妈妈故事集》，由Barbin在1697年出版。这本书出版后一炮而红，并且流传至今。

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.

佩罗的故事对于世界文化的影响甚钜。在原始的意大利版本，这篇故事的标题名称叫做“Costantino Fortunato”(康斯坦丁的幸运)，而其后来改为“ll gatto con gli stivali”(穿靴子的猫)；法语则称作“Histoires ou contes du temps passé, avec des moralités”《附道德训诫的古代故事》，副题为《鹅妈妈故事集》。在早期英文版的故事序章里头，描述了一位老太太在一个刻着“鹅妈妈故事”的看板底下说故事给一群小孩听，而据信英文的“鹅妈妈”即是由此而来。《穿长靴的猫》在过去的几个世纪以来也为不少的作曲家、舞蹈编剧及艺术家提供了不少艺术创作的灵感。举例来说，这只猫出现在柴可夫斯基的芭蕾舞剧《睡美人》中的第三幕，同时也出现其它的各式各样的媒体上。不仅如此，《穿长靴的猫》在英国也是一个广受欢迎的哑剧题材。

情节

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.

故事的开头是这样的，有一个在磨坊家中排行第三的老幺得到了一只猫做为父亲过世的遗产。起初，这名儿子感叹家中的长子继承了磨坊，次子继承了骡子，自己却一无所有。然而他所继承这只猫并非是普通的猫，而是只会向主人要靴子的猫。猫为了使它的主人获得财富，替主人杜撰了一个虚构的卡拉巴斯侯爵身份，并想办法弄了只森林野兔，以侯爵的名义将野兔敬献给国王。猫的打猎行为持续了数个月。

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，国王决定要和女儿一同出游。猫说服了它的主人脱掉衣服跳入了国王马车会经过的河里，并将主人的衣服藏在了石头下方。当王室的马车行驶到附近，猫便痛哭流涕的向他们寻求协助。就在国王一行人停下马车想要一探究竟时，猫告诉他们，它的主人卡拉巴斯侯爵被人丢到了河里并夺去了衣服。国王命人将这名年轻人扶上岸，给他穿上华丽的衣裳，并让他与自己的女儿共乘一辆马车，公主见到这位年轻人后则是对他一见钟情。

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，猫则赶在马车前面沿路命令所有的人告诉国王，这块地是属于卡拉巴斯侯爵所有，否则他们将会被剁成碎肉。说完后猫便赶往一座城堡，城堡里住着一个拥有变身能力的怪物。这名怪物首先变成一头狮子要吓唬猫，然而猫却运用一些伎俩让怪物变成了老鼠，接着猫便将老鼠吞下肚。当国王抵达这座城堡时，以为这是卡拉巴斯侯爵的财产，便欣然的让公主嫁给了年轻人。此后，猫享受着它的权贵生活，只会为了娱乐去抓老鼠。故事到这边结束，并紧接着两则启示：一则是强调拥有事业和专业知识的重要性，另一则是好的衣着、容貌、还有保持青春才能赢得美人的芳心。意大利的翻译家卡洛·科洛迪在文中注记道，如果你刚好是这只猫或是卡拉巴斯侯爵，这将会是一个非常有用的建议。以上就是在法国境内家喻户晓的故事内容，另外在亚洲、非洲、南美洲也流传着其他不同的版本。

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

佩罗的《精明的猫》或是《穿长靴的猫》在西方民间故事里是广为流传会帮助主人的动物能手。然而，这只招摇撞骗的猫并不是佩罗所创造的角色。在佩罗的故事集发行的数个世纪前，有名叫做Somadeva的人，他是位婆罗门阶级的克什米尔人。Somadeva收集了一些具特色人物、服装的印度民间故事，并把这本故事合集叫做Kathā Sarit Sāgara (英语称做：The ocean of the streams of stories)。故事内容收录了不败之剑、补给船或是报恩的动物等故事。在五卷书(英语称做"Five Principles"，一个公元5世纪的印度童话故事选集)中也有一篇关于猫的故事，但这只猫比起佩罗《穿长靴的猫》表现的要差劲的多了，它企图在国王的皇宫谋取财富。 1553年，另一个与《穿长靴的猫》相似的故事叫《康斯坦汀的幸运》收录在欧洲的第一本童话故事集《愉快的夜晚》(英语：The Facetious Nights)，为Giovanni Francesco Straparola所著，并在威尼斯发行。然而，在Straparola的故事里，作为主角可怜年轻人是一个波西米亚人的孩子，故事里的猫是一个妖精伪装的，里头的公主则是叫Elisetta，同时故事里的城堡并不属于一个怪物，而是属于一个意外身亡的城主。最终，这名可怜的年轻人成为了波西米亚的国王。Straparola其中的一个故事版本在1560年于法国出版。故事的口述版本在当时广为流传，Straparola可能引用了其中一个故事，然而也有一些迹象显示这个故事可能是Straparola的原创作品。 1634年，另一个以招摇撞骗的猫为主人翁的故事刊登在吉姆巴地斯达·巴西耳的收藏集《五日谈》中。然而在佩罗的一生中（1608~1703），这个收藏集和这篇故事并未在法国出版。故事里有个地方叫巴西莱，一名叫Gagliuso（有时叫Cagliuso）的乞丐男孩，他的命运在某种程度上类似佩罗的穿长靴的猫，但这篇故事的结局却截然不同。Cagliuso为了感谢猫，承诺在猫死后会给它一副黄金做的棺材。三天后，猫决定装死来测试Gagliuso是否会遵守承诺，然而猫却羞愤的听到Gagliuso叫他的妻子拎起猫的脚把它扔到窗外去。猫一跃而起，质问乞丐男孩这是否就是它帮助男孩过上更好生活后所遭受的待遇。接着猫便怒气冲冲地离开了，留下他的主人独自谋生。在另一种版本中，猫则显现得非常勇敢，接着一位仙子出现，帮助它变回一只普通的猫，使它能与其它同类相处。 有一些迹象显示出佩罗有可能知道Straparola的故事内容，因为在十六世纪《愉快的夜晚》被翻译成法语，随即就被人们口耳相传。

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

这篇故事最早收录在“愉快的夜晚”（约1550年至1553年）的第十四章到十五章，由一位意大利作家Giovanni Francesco Straparola在威尼斯出版。他原来的标题是Costantino Fortunato(中文：康斯坦汀的幸运；英语：Lucky Costantino）。 1697年1月，Barbin在巴黎出版了《精明的猫》或称作《穿长靴的猫》，且收录此作品的故事集被称作《附道德训诫的古代故事》。该系列包括《树林中的睡美人》（The Sleeping Beauty in the Wood）、《小红帽》(Little Red Riding Hood)、《蓝胡子》(Blue Beard)、《会魔法的人》或是《钻石和蟾蜍》(The Enchanted Ones, or Diamonds and Toads)、《灰姑娘》(又译作《小水晶鞋》) (Cinderella, or The Little Glass Slipper)、《长了一簇毛的里基》(Riquet with the Tuft)、《小拇指》(Hop o' My Thumb)等。书的卷头描述了一位老太太在一个刻着“鹅妈妈故事”（也就是后来的鹅妈妈的故事集；英语：Tales of Mother Goose）的看板底下讲故事给三个孩子听。此书一出版后很快地便蔚为风潮。

出版商J. Pote 以及 R. Montagu将Robert Samber于1729 年翻译成精明的猫(The Master Cat) 或是穿长靴的猫( Puss in Boots)的那本书与佩罗的《附道德训诫的古代故事》，副题《鹅妈妈的故事》一同在伦敦出版。这本书在1729年6月被对外宣传为“趣味十足并对儿童有所启发的一本书”。英文版的卷头和法文的第一版相当类似，此书出来后英语系国家也开始发行《鹅妈妈的故事集》。 Samber的翻译被评价为既忠实又十分简洁明了，相当引人入胜，同时其生动、轻快优雅的诙谐叙事语调，比起原文还要更深入人心。在英译版的故事发行后，这本书随即被广泛的翻译成各种语言，并在世界各地出版。

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.

关于作者

人们猜测佩罗的儿子小佩罗（Pierre Darmancour）才是这本书的作者，因为有证据显示在伊丽莎白．夏绿蒂．奥尔良（路易十四的侄女）的鹅妈妈的故事中笔名为佩罗的儿子（P. Darmancour）。老佩罗一直热衷于鹅妈妈的故事，并在1693年出版了《荒谬的故事》的韵文，并且于1694年出版了一个像灰姑娘的主题故事称为《驴驹皮》。此外，有五个手写和插画的手稿（包括精明的猫或穿靴子的猫）比1697巴黎出版的早了两年。

这份手稿早在小佩罗十六、十七岁时就已经完成了，学者艾奥娜（Iona）和彼得·奥佩（Peter Opie）推测这个年纪的小佩罗不会对童话故事感兴趣，所以不太可能是这个故事的作者。小佩罗当过兵，且并没有显现出对文学的爱好，而当他在1700年去世，他的讣闻中没有提到的任何关于故事的事。然而，当佩罗于1703年去世，报纸间接有提到他有参与撰写在1696年出版的《睡美人》。

改编

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年的电影《史瑞克2》中有一只穿靴子的猫串场。 近几个世纪以来，Perrault的故事被各式各样的媒体加以改编利用。路德维希·蒂克以《穿靴子的猫》为蓝本，出版了一个充满戏剧性的讽刺作品叫做鞋猫剑客（Der gestiefelte Kater），且1812年，格林兄弟改编了穿靴的猫并加入《儿童与家庭童话集》，俗称《格林童话》中。穿靴的猫于柴可夫斯基的《睡美人》芭蕾舞中的第三幕与白色的猫一同登场。在电影和电视中，华特．迪士尼在1922年以这个故事为蓝本改制成黑白无声动画。还有人在1969年改编成漫画，那个人也就是日本著名作家和导演–宫崎骏。在80年代中期，穿靴的猫曾被电视连续剧（Faerie Tale Theatre）制作为一集并播出，其中的演员有本·沃伦和古格里·海因斯。另一个版本是出自加农电影故事系列（Cannon Movie Tales series），克里斯多夫·华肯饰演猫，这个改编的剧情是呈现出猫穿靴的时候会变成人类。另外有与这个故事没太多相关性的改编是神奇宝贝（Pokémon anime episode）。在Like a Meowth to a Flame这一集中，泰森这个角色的喵喵穿着靴子，戴着帽子和围巾。

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.

梦工厂动画公司发行了动画片穿靴子的猫，并请安东尼奥·班德拉斯从新启用了他在史瑞克电影（2011年11月4日）中配音的角色。新的电影将不同于原始的故事。

名为“猫和靴”的猫饲料是由美国Retrobrands 公司所拥有，并在美国和加拿大可以买到。

电影

• 《穿靴子的猫》（1992年），日本制作的动画片
• 《鞋猫剑客》（2011年），Chris Miller导演，梦工厂出品的美国动画电影，10月28日上映。

参见

• 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 

外部链接

• 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