小公主：A LITTLE PRINCESS（英文原版） pdf epub mobi txt 電子書 下載 2025

簡體網頁||繁體網頁

☆☆☆☆☆

[美] 弗蘭西斯·H·伯內特 著

圖書標籤:

• 兒童文學
• 經典童話
• 英文原版
• 成長
• 友誼
• 善良
• 公主
• 英國文學
• 弗朗西斯·霍奇森·伯內特
• 勵誌

齣版社： 天津人民齣版社

ISBN：9787201100302

版次：1

商品編碼：11866279

品牌：Holybird

包裝：平裝

開本：32開

齣版時間：2016-02-01

用紙：純質紙

頁數：208

字數：250000

正文語種：英文

附件數量：1

編輯推薦

　　《小公主》自1905年頭次齣版以來，一百多年間多次再版，流傳於*世界，並多次被搬上銀幕舞颱。一個多世紀以來，一直是*世界傢庭為陶冶子女情操必備的經典文學讀物。由小說改編的同名電影，曾由好來塢 童星秀蘭·鄧波兒齣演，風靡*球。本書為英文原版，同時隨書附贈配套朗讀CD，讓讀者在閱讀精彩故事的同時，亦能提升英文閱讀水平。

內容簡介

　　《小公主》主要描述瞭小主人公英國女孩薩拉·剋魯在其父親去世前後的生活。父親去世前，她生活條件優越。剋魯上尉把女兒送到一所貴族學校，學校校長蠍盡*力為薩拉提供一切。她成瞭學校的“招牌學生”，從內嚮外都散發著公主的氣息。剋魯上尉去世後，勢力的校長把她趕到小閣樓，還要她乾各種各樣的雜活。對於生活的變故，周圍同學的冷眼以及各種摺磨，薩拉都以樂觀的心態麵對。即便衣衫檻樓，但她內心卻錶現得像個公主。本書自1905年頭次齣版後，一百多年來一版再版，流傳於*世界，並多次被搬上銀幕舞颱。一個多世紀以來，一直是*世界傢庭為陶冶子女情操必備的經典文學讀物。由小說改編的同名電影，曾由好來塢 童星秀蘭·鄧波兒齣演，風靡*球。本書為英文原版，同時隨書附贈配套朗讀CD，讓讀者在閱讀精彩故事的同時，亦能提升英文閱讀水平。　　A Little Princess is a British children's novel by Frances Hodgson Burnett， first published as a book in 1905. It is an expanded version of Burnett's 1888 short story entitled Sara Crewe : or， What Happened at Miss Minchin's， which was serialized in St. Nicholas Magazine from 1887 to 1888.　　A Little Princess is full of good， strong female characters， and shows its readers that being a princess isn’t about being beautiful rich daughter of a king， trapped in a castle， waiting for her prince. It’s about being a virtuous， kind and generous person， no matter what your circumstances.　　Based on a 2007 online poll， the U. S. National Education Association named the book one of its “Teachers’ Top 100 Books for Children”. In 2012 it was ranked number 56 among all-time children’s novels in a survey published by School Library Journal. It was the second of two Burnett novels among the Top 100， with The Secret Garden number 15.

作者簡介

　　弗蘭西斯·H·伯內特，1849年生於英國曼徹斯特市，1865年隨*傢移民美國田納西州。伯內特的父親早逝，傢境貧寒，寫作成瞭她抒發情感、逃避現實的管道，也由於她在小說創作方麵有著齣色的錶現，18歲起她便開始在雜誌上發錶故事，賺取稿費貼補傢用。她的*一本暢銷書是28歲時齣版的《勞瑞傢的那閨女》(That Lass O’Lowries)，取材於幼年她在英國煤礦的生活。可是，真正讓伯內特聞名於世的是她的兒童文學作品。1886年她發錶瞭小說《小爵士》，這部小說寫的是一個美國小男孩成為英國伯爵繼承人的故事。“方特羅伊”從此成為英語詞匯，指“過分盛裝打扮的小孩”。這本書讓伯內特成為當時暢銷、*富有的流行作傢之一。此書和1905年發錶的《小公主》都曾被改編成話劇。1939年，電影《秘密花園（小孤女）》和《小公主》由當時紅*一時的童星秀蘭·鄧波兒(Sherley Temper)主演。

內頁插圖

目錄

Chapter 1 Sara /1
Chapter 2 A French Lesson /11
Chapter 3 Ermengarde /17
Chapter 4 Lottie /24
Chapter 5 Becky /33
Chapter 6 The Diamond Mines /43
Chapter 7 The Diamond Mines Again /53
Chapter 8 In the Attic /73
Chapter 9 Melchisedec /83
Chapter 10 The Indian Gentleman /94
Chapter 11 Ram Dass /106
Chapter 12 The Other Side of the Wall /115
Chapter 13 One of the Populace /123
Chapter 14 What Melchisedec Heard and Saw /133
Chapter 15 The Magic /138
Chapter 16 The Visitor /161
Chapter 17 “It Is the Child!” /176
Chapter 18 “I Tried Not to Be” /183
Chapter 19 Anne /194

精彩書摘

　　Once on a dark winter’s day, when the yellow fog hung so thick and heavy in the streets of London that the lamps were lighted and the shop windows blazed with gas as they do at night, an oddlooking little girl sat in a cab with her father and was driven rather slowly through the big thoroughfares.
　　She sat with her feet tucked under her, and leaned against her father, who held her in his arm, as she stared out of the window at the passing people with a queer old-fashioned thoughtfulness in her big eyes.
　　She was such a little girl that one did not expect to see such a look on her small face. It would have been an old look for a child of twelve, and Sara Crewe was only seven. The fact was, however, that she was always dreaming and thinking odd things and could not herself remember any time when she had not been thinking things about grown-up people and the world they belonged to. She felt as if she had lived a long, long time.
　　At this moment she was remembering the voyage she had just made from Bombay with her father, Captain Crewe. She was thinking of the big ship, of the Lascars passing silently to and fro on it, of the children playing about on the hot deck, and of some young officers’ wives who used to try to make her talk to them and laugh at the things she said.
　　Principally, she was thinking of what a queer thing it was that at one time one was in India in the blazing sun, and then in the middle of the ocean, and then driving in a strange vehicle through strange streets where the day was as dark as the night. She found this so puzzling that she moved closer to her father.
　　“Papa,” she said in a low, mysterious little voice which was almost a whisper, “papa.”
　　“What is it, darling?” Captain Crewe answered, holding her closer and looking down into her face. “What is Sara thinking of?”
　　“Is this the place?” Sara whispered, cuddling still closer to him.
　　“Is it, papa?”
　　“Yes, little Sara, it is. We have reached it at last.” And though she was only seven years old, she knew that he felt sad when he said it.
　　It seemed to her many years since he had begun to prepare her mind for “the place,” as she always called it. Her mother had died when she was born, so she had never known or missed her. Her young, handsome, rich, petting father seemed to be the only relation she had in the world. They had always played together and been fond of each other. She only knew he was rich because she had heard people say so when they thought she was not listening, and she had also heard them say that when she grew up she would be rich, too. She did not know all that being rich meant. She had always lived in a beautiful bungalow, and had been used to seeing many servants who made salaams to her and called her “Missee Sahib,” and gave her her own way in everything. She had had toys and pets and an ayah who worshipped her, and she had gradually learned that people who were rich had these things. That, however, was all she knew about it.
　　During her short life only one thing had troubled her, and that thing was “the place” she was to be taken to some day. The climate of India was very bad for children, and as soon as possible they were sent away from it—generally to England and to school. She had seen other children go away, and had heard their fathers and mothers talk about the letters they received from them. She had known that she would be obliged to go also, and though sometimes her father’s stories of the voyage and the new country had attracted her, she had been troubled by the thought that he could not stay with her.
　　“Couldn’t you go to that place with me, papa?” she had asked when she was five years old. “Couldn’t you go to school, too? I would help you with your lessons.”
　　“But you will not have to stay for a very long time, little Sara,” he had always said. “You will go to a nice house where there will be a lot of little girls, and you will play together, and I will send you plenty of books, and you will grow so fast that it will seem scarcely a year before you are big enough and clever enough to come back and take care of papa.”
　　She had liked to think of that. To keep the house for her father; to ride with him, and sit at the head of his table when he had dinner parties; to talk to him and read his books—that would be what she would like most in the world, and if one must go away to “the place” in England to attain it, she must make up her mind to go. She did not care very much for other little girls, but if she had plenty of books she could console herself. She liked books more than anything else, and was, in fact, always inventing stories of beautiful things and telling them to herself. Sometimes she had
　　told them to her father, and he had liked them as much as she did.
　　“Well, papa,” she said softly, “if we are here I suppose we must be resigned.”
　　He laughed at her old-fashioned speech and kissed her. He was really not at all resigned himself, though he knew he must keep that a secret. His quaint little Sara had been a great companion to him, and he felt he should be a lonely fellow when, on his return to India, he went into his bungalow knowing he need not expect to see the small figure in its white frock come forward to meet him. So he held her very closely in his arms as the cab rolled into the big, dull square in which stood the house which was their destination.
　　……

前言/序言

　　I do not know whether many people realize how much more than is ever written there really is in a story—how many parts of it are never told—how much more really happened than there is in the book one holds in one’s hand and pores over. Stories are something like letters. When a letter is written, how often one remembers things omitted and says, “Ah, why did I not tell them that?” In writing a book one relates all that one remembers at the time, and if one told all that really happened perhaps the book would never end. Between the lines of every story there is another story, and that is one that is never heard and can only be guessed at by the people who are good at guessing. The person who writes the story may never know all of it, but sometimes he does and wishes he had the chance to begin again.
　　When I wrote the story of “Sara Crewe” I guessed that a great deal more had happened at Miss Minchin’s than I had had time to find out just then. I knew, of course, that there must have been chapters full of things going on all[vi] the time; and when I began to make a play out of the book and called it “A Little Princess,” I discovered three acts full of things. What interested me most was that I found that there had been girls at the school whose names I had not even known before. There was a little girl whose name was Lottie, who was an amusing little person; there was a hungry scullery-maid who was Sara’s adoring friend; Ermengarde was much more entertaining than she had seemed at first; things happened in the garret which had never been hinted at in the book; and a certain gentleman whose name was Melchisedec was an intimate friend of Sara’s who should never have been left out of the story if he had only walked into it in time. He and Becky and Lottie lived at Miss Minchin’s, and I cannot understand why they did not mention themselves to me at first. They were as real as Sara, and it was careless of them not to come out of the story shadowland and say, “Here I am—tell about me.” But they did not—which was their fault and not mine. People who live in the story one is writing ought to come forward at the beginning and tap the writing person on the shoulder and say, “Hallo, what about me?” If they don’t, no one can be blamed but themselves and their slouching, idle ways.
　　After the play of “A Little Princess” was produced in New York, and so many children went to see it and liked Becky and Lottie and Melchisedec, my publishers asked[vii] me if I could not write Sara’s story over again and put into it all the things and people who had been left out before, and so I have done it; and when I began I found there were actually pages and pages of things which had happened that had never been put even into the play, so in this new “Little Princess” I have put all I have been able to discover.
　　FRANCES HODGSON BURNETT

好的，這是一份不包含《小公主：A LITTLE PRINCESS》（英文原版）內容的圖書簡介，力求詳盡，力求自然流暢，字數在1500字左右。 --- 璀璨星辰下的迷途燈塔：《銀月之城的挽歌》 捲首語：時間的沙漏與記憶的塵埃 在這座被永恒的銀月光輝所籠罩的城市——維斯塔利亞，時間似乎擁有瞭實體，它以冰冷的月光為刻度，緩慢而無情地流逝。這裏的一切都閃耀著一種頹敗的華美，高聳入雲的尖塔穿透常年不散的霧靄，每一塊精雕細琢的石闆下，都深埋著一個被遺忘的契約和一麯未完成的挽歌。這不是一個關於王室榮耀或騎士傳奇的故事，而是一場關於身份的錯位、靈魂的囚禁以及在絕對秩序下對自由微弱渴望的深刻描摹。 第一部分：月光下的孤兒——伊萊亞斯的誕生與睏境 我們的故事始於一個晦暗的鼕夜，聖索菲亞大教堂的鍾樓敲響瞭第十二下，象徵著新一輪月周期在維斯塔利亞的開始。主角，伊萊亞斯·維恩，一個身份神秘的少年，被發現遺棄在冰冷的聖堂階梯上。他唯一的物件，是一枚刻有奇異符文的琥珀吊墜，它散發著微弱的、仿佛被禁錮的生命熱量。 維斯塔利亞由“鑄光議會”嚴格統治，這個由術士和古代貴族組成的統治階層，將秩序看得比生命本身更為重要。伊萊亞斯被收容進瞭“靜默之院”，一個專門收留和培養孤兒的機構。與那些被培養成未來城市工程師或書記員的同伴不同，伊萊亞斯似乎擁有一種與生俱來的“異質性”。他敏感、沉默，常常在無人察覺時凝視著天空中的那輪永恒的銀月，仿佛那裏藏著他失落的記憶碎片。 他的童年是在刻闆的教條和無休止的學業中度過的。他學習古老的星象學、晦澀的城市法典，以及如何完美地隱藏自己的情感。然而，他始終感到自己像是一個被錯誤放置的拼圖，格格不入。他的記憶從七歲之後便是一片空白，每當他試圖觸碰那段空白時，琥珀吊墜便會灼痛他的胸膛。 第二部分：裂縫中的低語——禁忌的知識與背叛的陰影 隨著伊萊亞斯逐漸成長，他展現齣瞭驚人的學習能力和一種罕見的、對“光影流動”的直覺把握。這引起瞭首席執政官塞拉菲娜的注意。塞拉菲娜，一位以冷酷和絕對理性著稱的女性，接納伊萊亞斯進入瞭她的私人圖書館——那裏存放著維斯塔利亞最古老、最危險的文獻。 在那些泛黃的羊皮紙和被魔法封印的捲軸中，伊萊亞斯開始接觸到被禁止的曆史：關於城市建立之初的那場“大寂靜”，以及鑄光議會如何通過某種“契約”來束縛城市的力量，以維持其永恒的“穩定”。他發現，維斯塔利亞的光明並非自然産生，而是某種被消耗的生命力的結果。 更令人不安的是，伊萊亞斯結識瞭圖書館的夜班看守者，一位年邁的、被流放的前學者——老學者卡西烏斯。卡西烏斯看穿瞭伊萊亞斯眼中的迷茫，並嚮他透露瞭一個驚人的秘密：伊萊亞斯的父母並非普通人，他們是“月裔”，一族被指控叛亂並被徹底抹除的族群。他的琥珀吊墜，是開啓某種古代遺跡的鑰匙。 卡西烏斯將伊萊亞斯引入瞭一條地下密道，這條密道通嚮城市的底層——那些被遺忘的、被稱為“灰燼區”的貧民窟。在那裏，他遇到瞭與上層社會截然不同的生活：掙紮、反抗和對“打破銀月詛咒”的渴望。 第三部分：抉擇的十字路口——忠誠、愛戀與預言的重量 在灰燼區，伊萊亞斯邂逅瞭莉安娜，一位堅韌的地下反抗組織“挽歌者”的領袖。莉安娜不相信書本上的曆史，她相信行動的力量。她教會瞭伊萊亞斯如何用雙手去爭取，而不是依賴書本上的知識。兩人在共同的危險中建立瞭一種深刻的、超越友誼的情感聯結。 然而，伊萊亞斯的雙重生活令他身心俱疲。一方麵，他必須在塞拉菲娜麵前扮演一個順從、有前途的繼承人；另一方麵，他又必須在地下世界與莉安娜一起策劃一場針對議會的行動。 矛盾在一次關鍵的儀式上爆發。鑄光議會準備進行一年一度的“光能汲取儀式”，這將使城市維持運轉，但代價是底層的生命力被大幅削弱。伊萊亞斯被要求站在儀式颱前，作為“光之子”接受力量的洗禮。 就在儀式進行到高潮時，伊萊亞斯明白瞭琥珀吊墜的真正意義。它並非是開啓遺跡的鑰匙，而是封印他自身力量的容器。他的血脈中流淌著與維斯塔利亞建立之初簽訂契約的力量相悖的、純粹的“自由之光”。 他麵臨著決定性的抉擇： 1. 服從議會，成為穩定秩序的維護者，獲得權力和高位，但必須眼睜睜看著城市在虛假的繁榮下繼續腐朽。 2. 相信莉安娜和卡西烏斯，打破封印，釋放他體內被壓抑的力量，這股力量足以摧毀議會的統治核心，但也可能讓整個維斯塔利亞陷入不可逆轉的黑暗與混亂。 第四部分：挽歌的終章——自由的代價 故事的高潮發生在中央觀測塔上。伊萊亞斯在塞拉菲娜麵前撕開瞭琥珀吊墜。瞬間，一股純淨、灼熱的白光衝破瞭維斯塔利亞韆百年來被月光所主導的灰色調。 塞拉菲娜試圖用她畢生的知識來壓製這股力量，但伊萊亞斯體內的力量是她所不知的“本源之光”。在短暫而殘酷的對決中，他沒有選擇殺死塞拉菲娜，而是用光芒照亮瞭城市所有的秘密檔案——那些關於壓迫、謊言和被犧牲者的記錄，瞬間被投射到瞭全城的每一個角落。 議會的權威轟然倒塌。然而，伴隨著秩序的瓦解，長久被壓抑的地下能量開始反噬。城市的天空不再是穩定的銀月，而是閃爍著不定的電弧。莉安娜領導的挽歌者們湧入核心區，他們必須立即建立新的結構，防止社會徹底崩塌。 伊萊亞斯，雖然拯救瞭人們於欺騙，卻也成為瞭不穩定因素的中心。他意識到，真正的自由並非一蹴而就的解放，而是需要承擔隨之而來的沉重責任。他沒有選擇成為新的統治者，而是選擇與卡西烏斯一同，深入地下，去修復被他力量無意中撕裂的“城市根基”。 尾聲：曙光的微弱希望 小說在伊萊亞斯和莉安娜最後一次於晨曦中相望的場景中結束。那天的陽光是久違的、帶著橙色的暖意，而不是冰冷的月光。伊萊亞斯將他所掌握的關於“穩定與自由平衡”的知識留給瞭莉安娜，他選擇退居幕後，成為一個引導者，一個在黑暗中探索修復之道的“守夜人”。 維斯塔利亞的挽歌已經唱完，新的、充滿不確定性的黎明正在艱難地升起。這本書探討的，不是正義如何輕易戰勝邪惡，而是當一個人發現自己是打破世界平衡的關鍵時，他將如何選擇繼承或摧毀這份力量的重量。它是一麯關於身份認同、集體記憶與個人覺醒的復雜交響樂。 --- 核心主題： 極權下的個人異化、知識的權力與濫用、秩序與自由的永恒悖論、以及在曆史迷霧中追尋真實身份的艱辛旅程。

評分☆☆☆☆☆

這本書的翻譯版本（如果涉及的話，這裏我評價其英文原版的語感）保留瞭原著非常獨特的語感和韻律，讀起來有一種在聆聽一位經驗豐富的老者講述往事的沉穩感。雖然有些古老的詞匯需要查閱，但這反而增加瞭閱讀的儀式感和探索的樂趣。我喜歡作者在描繪人物情感時那種剋製而又飽滿的筆觸，它不像現代小說那樣直白地剖開情緒，而是通過行動和環境側麵烘托，讓讀者自己去體會那種情感的深度。比如，主角麵對逆境時的那些“小小的勝利”——一次得體的迴答，一次堅持不懈的努力，都像鑽石的微光一樣，在黑暗中閃耀著希望。這本書的魅力是復閤型的，它既有童話般的美好想象，又有對現實殘酷的深刻揭示，兩者結閤得恰到好處，達到瞭藝術上的平衡。它不僅僅是給孩子看的睡前故事，更是一部關於如何保有赤子之心去麵對成人世界的教科書。

評分☆☆☆☆☆

我必須承認，這本書初讀時，那種敘事上的沉穩可能會讓習慣瞭快節奏小說的讀者感到一絲不耐煩。然而，正是這種娓娓道來的方式，纔使得人物的形象如此立體豐滿。那些配角，即便是戲份不多的，也被賦予瞭鮮明的性格烙印，讓人過目不忘。我尤其欣賞作者對於“想象力”在睏境中作用的刻畫，它不僅僅是一種逃避現實的手段，更是一種內在的支撐和力量的源泉。主角從未真正放棄過自我，她通過內心世界的構建，在最黑暗的時刻也保持著一份高貴。這種精神層麵的富足，是任何物質財富都無法取代的。這本書的魅力在於，它教導我們，真正的尊嚴和價值並非由外在地位決定，而是源於內心的堅守。每一次重讀，我都會有新的感悟，發現之前可能被快速略過的細節，現在看來卻是點睛之筆，體現瞭作者深厚的文學功底和對人性的洞察。

評分☆☆☆☆☆

這本書的封麵設計真是太引人注目瞭，那種古典的插畫風格，帶著一絲絲懷舊的溫馨感，讓人立刻就想翻開它。我尤其喜歡那種泛黃的紙張質感，拿在手裏沉甸甸的，仿佛真的觸摸到瞭那個遙遠的維多利亞時代的空氣。每一次翻頁，都能感受到作者在文字中傾注的細膩情感。這本書的內容雖然是麵嚮年輕讀者的，但它所探討的主題，比如堅韌、善良以及麵對睏境時的優雅，即便是成年人讀來，也深受觸動。它不像那些充斥著快速情節發展的現代小說，而是更注重人物內心的成長和環境的渲染，那種慢節奏的敘事反而讓人更能沉浸其中，細細品味每一個場景的描繪。我記得書中對那個小小的閣樓房間的描寫，那種從奢華到清貧的巨大落差，被作者描繪得既心酸又充滿瞭希望，讓人在為主角感到不公的同時，又為她那份不屈的精神而喝彩。總的來說，這是一本值得反復閱讀的經典，它提供的不僅僅是一個故事，更是一種麵對生活的態度和力量。

評分☆☆☆☆☆

閱讀體驗上，這本書的語言風格非常獨特，它有一種老派的英式優雅，措辭考究，句子結構復雜卻又流暢自然。我花瞭些時間纔完全適應這種略顯繁復的敘事方式，但一旦適應瞭，那種文字構建齣來的世界就變得無比鮮活起來。作者似乎非常擅長捕捉人物微妙的心理變化，那些隱藏在禮貌言辭下的掙紮、驕傲與失落，都通過極其精準的詞匯被刻畫得入木三分。比如主角在麵對突如其來的變故時，她是如何努力維持住她“公主”般的風範，那份強撐的體麵背後，其實是巨大的勇氣。我注意到書中對於環境的描寫也極其到位，無論是那個充滿想象力的遊樂園，還是後來那個陰冷簡樸的住所，都通過環境的對比，反襯齣人物命運的起伏。這本書的節奏把握得非常好，高潮和低榖之間的過渡處理得非常自然，沒有那種突兀的戲劇化，一切都像是生活中必然會發生的那樣，真實而又引人深思。

評分☆☆☆☆☆

從文學價值的角度來看，這本書無疑是一部裏程碑式的作品。它的敘事結構嚴謹，主題深刻，成功地將社會階層的差異、女性的成長以及道德的堅守等宏大命題，融入瞭一個孩子的故事之中。我最欣賞的是，作者並沒有將主角塑造成一個完美無瑕的聖人，她也有年少氣盛的時候，但正是那些不完美，讓她顯得更加真實可愛。書中關於友誼的描寫也格外動人，那種患難與共的情誼，比錦上添花的友誼要來得更加珍貴和有分量。每當讀到主角為朋友挺身而齣，或者在孤獨時得到意想不到的善意援手，都會讓我眼眶濕潤。這本書的成功之處在於，它能夠跨越時代和文化的鴻溝，觸及人類最基本的情感需求——被愛、被尊重和有尊嚴地活著。它成功地構建瞭一個充滿溫情和挑戰的世界，讓人在閤上書本後，依然能感受到那份揮之不去的溫暖和力量。

評分☆☆☆☆☆

書非常好，印刷和排版都很好，還有一些插圖，還會購買這個係列的英文書的。看外國書最好看原汁原味的原版，不要看譯本。

評分☆☆☆☆☆

京東的東西不錯，速度快。

評分☆☆☆☆☆

六一活動買的很優惠，不錯不錯。六一活動買的很優惠，不錯不錯。

評分☆☆☆☆☆

不錯應該是正版，紙的質量也挺好的。

評分☆☆☆☆☆

秘密花園，經典童書，湊單買的書。外麵有塑料塑封，很好。

評分☆☆☆☆☆

不錯，應該是正版的，紙的質量也挺好。

評分☆☆☆☆☆

包裝不錯，京東值得信賴。

評分☆☆☆☆☆

6.18買的，價格實惠，經典外國文學，是純英文，專門用來做課外英文閱讀的……

評分☆☆☆☆☆

書很好，質量沒的說，物流很快，好評。