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摘要
摘要
A Greek princess, raised by bears in the forest and then returned to her rightful place in the kingdom, refuses to marry unless the man can outrun her in a footrace.
摘要
A Greek princess, raised by bears in the forest and then returned to her rightful place in the kingdom, refuses to marry unless the man can outrun her in a footrace.
评论 (10)
《学校图书馆杂志》(School Library Journal)书评
Gr 2-4-- Atalanta, left exposed at birth by a cruel king who wants only sons, is rescued by Diana, the Goddess of the Hunt. Raised by the goddess and Crona, a she-bear, the girl is happy in the forest until a young man, Hippomenes, thinks she is in danger and kills her foster brother, Obrin, a bear and son of Crona. At this, Atalanta conceives a hatred for the human race, which she brings with her when she is returned to her father. When he insists that she marry, she counters that she will only wed a man swift enough to outrun her. Hippomenes will risk everything to win her love, and receives help from Venus to do so. Martin's retelling is clear and romantic, maintaining suspense until the finish line. The Dillons's illustrations are certainly impressive, but are somewhat below their usual standard. While the pastel borders are lovely, the pictures of Atalanta and the rest of the characters seem stiff and lifeless. This may have to do with the generally cool palette, relying largely on teal, or the fact that the acrylic paintings attempt to emulate tapestry. Whatever the reason, there is an occasional awkwardness, a sense of linearity where the line should flow, and in some pictures, proportions are off--arms or legs slightly too long, as if inspired by El Greco. Nonetheless, the book as a whole is arresting, and lacking other picture-book versions of this Greek legend of unstinting love, this is a solid purchase for mythology sections. --Ann Welton, Thomas Academy, Kent, WA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
出版社周刊评论
Imposing paintings by the gifted Dillons, two-time winners of the Caldecott Medal, illustrate Martin's debut book: a stylish, lucid retelling of the myth of Atalanta. Deep in the forest, the goddess Diana raises this Greek princess, who was abandoned at birth by her cruel father. The child, who ``delighted to swim swift-flowing rivers and ran like the wind,'' is not pleased when Diana tells her she must return to the kingdom of her aging father, who longs for an heir. But Atalanta goes and reluctantly agrees to marry, on the condition that her intended outrun her in a race--something no one has ever done. Venus comes to the aid of the winning suitor, Hippomenes, who has long been captivated by the princess. Framed by stylized arboreal designs, the Dillons' art is reminiscent of the medieval tapestries that inspired it. Geometric and floral patterns, as well as the fauna and flora of the forest, are rendered in stunning detail, and muted greens and golds contrast strikingly with luminous hues. Ages 4-8. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved
《儿童读物杂志》(Horn Book)书评
In this myth of Atalanta, she races young men who must die if they cannot pass her, until she is moved by young Hippomenes's love and allows him to lure her from the track with golden apples. The illustrations are an elegant cross between fairy-tale scenes and motifs from Greek vases. From HORN BOOK 1991, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Kirkus评论
Abandoned by her father because she's not a boy, the infant princess Atalanta becomes the protégée of the goddess Diana and is raised by a bear, learning to outdistance all the forest creatures. Returning (in the more familiar part of this Greek myth) to her father's court, she vows to marry only a man who is swifter than she is. In Martin's cleanly told version, Atalanta's love for Hippomenes is the reason she accepts the lure of Venus's apples, letting him win the race as she retrieves them. The Dillons provide an elegant setting: their formal borders and decorative vignettes have the aura and glow of stained glass; costumes, settings, and the patterns that adorn every page are a creative blend of the Greek, medieval, and purely imaginative. The animals are tactile-lovely; Atalanta herself is a pert gamine, a haughty princess--and a sturdy, Olympic-class runner. A handsome update of a grand story. (Mythology. 5+)
《书目》(Booklist)书评
Ages 4-8. This romantic picture-book version of the Atalanta myth combines the styles of medieval tapestry with contemporary glitz. The language is a bit flat ("I'm sorry, Goddess") with little of the vitality of Evslin's colloquial retellings; it's as if the myth has been reduced to soap opera ("Suddenly he knew he had loved her since he first saw her"). The framed illustrations in glowing color are highly decorated, stylized in background but with extraordinary depth. They begin with spring and autumnal scenes in the forest where Atalanta is abandoned as a baby and raised by Diana to run like the wind. When Atalanta discovers she's really a princess and is summoned to her father's side, the setting moves to the court. Finally, there's the crucial race with her lover, which (as this version spells things out) she chooses to lose. The most dramatic pictures retain the mystery of myth (Venus flying down with the golden apples in purple light) and the glory of passion (Atalanta confronting her father in fury). Less interesting are the pictures that show her as a smiling blond coed running track. (Reviewed Sept. 1, 1991)0803702485Hazel Rochman
《学校图书馆杂志》(School Library Journal)书评
Gr 2-4-- Atalanta, left exposed at birth by a cruel king who wants only sons, is rescued by Diana, the Goddess of the Hunt. Raised by the goddess and Crona, a she-bear, the girl is happy in the forest until a young man, Hippomenes, thinks she is in danger and kills her foster brother, Obrin, a bear and son of Crona. At this, Atalanta conceives a hatred for the human race, which she brings with her when she is returned to her father. When he insists that she marry, she counters that she will only wed a man swift enough to outrun her. Hippomenes will risk everything to win her love, and receives help from Venus to do so. Martin's retelling is clear and romantic, maintaining suspense until the finish line. The Dillons's illustrations are certainly impressive, but are somewhat below their usual standard. While the pastel borders are lovely, the pictures of Atalanta and the rest of the characters seem stiff and lifeless. This may have to do with the generally cool palette, relying largely on teal, or the fact that the acrylic paintings attempt to emulate tapestry. Whatever the reason, there is an occasional awkwardness, a sense of linearity where the line should flow, and in some pictures, proportions are off--arms or legs slightly too long, as if inspired by El Greco. Nonetheless, the book as a whole is arresting, and lacking other picture-book versions of this Greek legend of unstinting love, this is a solid purchase for mythology sections. --Ann Welton, Thomas Academy, Kent, WA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
出版社周刊评论
Imposing paintings by the gifted Dillons, two-time winners of the Caldecott Medal, illustrate Martin's debut book: a stylish, lucid retelling of the myth of Atalanta. Deep in the forest, the goddess Diana raises this Greek princess, who was abandoned at birth by her cruel father. The child, who ``delighted to swim swift-flowing rivers and ran like the wind,'' is not pleased when Diana tells her she must return to the kingdom of her aging father, who longs for an heir. But Atalanta goes and reluctantly agrees to marry, on the condition that her intended outrun her in a race--something no one has ever done. Venus comes to the aid of the winning suitor, Hippomenes, who has long been captivated by the princess. Framed by stylized arboreal designs, the Dillons' art is reminiscent of the medieval tapestries that inspired it. Geometric and floral patterns, as well as the fauna and flora of the forest, are rendered in stunning detail, and muted greens and golds contrast strikingly with luminous hues. Ages 4-8. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved
《儿童读物杂志》(Horn Book)书评
In this myth of Atalanta, she races young men who must die if they cannot pass her, until she is moved by young Hippomenes's love and allows him to lure her from the track with golden apples. The illustrations are an elegant cross between fairy-tale scenes and motifs from Greek vases. From HORN BOOK 1991, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Kirkus评论
Abandoned by her father because she's not a boy, the infant princess Atalanta becomes the protégée of the goddess Diana and is raised by a bear, learning to outdistance all the forest creatures. Returning (in the more familiar part of this Greek myth) to her father's court, she vows to marry only a man who is swifter than she is. In Martin's cleanly told version, Atalanta's love for Hippomenes is the reason she accepts the lure of Venus's apples, letting him win the race as she retrieves them. The Dillons provide an elegant setting: their formal borders and decorative vignettes have the aura and glow of stained glass; costumes, settings, and the patterns that adorn every page are a creative blend of the Greek, medieval, and purely imaginative. The animals are tactile-lovely; Atalanta herself is a pert gamine, a haughty princess--and a sturdy, Olympic-class runner. A handsome update of a grand story. (Mythology. 5+)
《书目》(Booklist)书评
Ages 4-8. This romantic picture-book version of the Atalanta myth combines the styles of medieval tapestry with contemporary glitz. The language is a bit flat ("I'm sorry, Goddess") with little of the vitality of Evslin's colloquial retellings; it's as if the myth has been reduced to soap opera ("Suddenly he knew he had loved her since he first saw her"). The framed illustrations in glowing color are highly decorated, stylized in background but with extraordinary depth. They begin with spring and autumnal scenes in the forest where Atalanta is abandoned as a baby and raised by Diana to run like the wind. When Atalanta discovers she's really a princess and is summoned to her father's side, the setting moves to the court. Finally, there's the crucial race with her lover, which (as this version spells things out) she chooses to lose. The most dramatic pictures retain the mystery of myth (Venus flying down with the golden apples in purple light) and the glory of passion (Atalanta confronting her father in fury). Less interesting are the pictures that show her as a smiling blond coed running track. (Reviewed Sept. 1, 1991)0803702485Hazel Rochman