The novel begins by introducing the

The novel begins by introducing the reader to Mary — although it would perhaps be more accurate to say it begins by introducing us to her faults. She is described as ugly, ill-tempered, and viciously demanding; in short, she is "as tyrannical and selfish a little pig as ever lived." At the same time, however, the reader is given to understand that the source of Mary's hatefulness is not precisely in her: the blame lies with her parents—particularly her mother. Disappointed by her daughter's ugliness and sickliness, Mary's mother cruelly refuses to see her, instead leaving her in the care of a retinue of Indian servants who care nothing at all for the child. The servants must, however, obey her every whim, in this can be found the source of her imperiousness. Mary's only pleasure, even at this early point in the novel, is play-gardening: she sits beneath a tree and idly places cut flowers in mounds of sound. After the death of her parents in the cholera epidemic, she engages in the same activity at the house of the clergyman and his family. Throughout the first part of the novel, Mary remains standoffish and rude; however, the omniscient narrator consistently makes it clear that Mary is only so awful because of the wretched circumstances of her early childhood. The reader has access to the loneliness and displacement that Mary herself is not able to express, but feels deeply. The instant her circumstances improve—that is, the instant that she arrives at Misselthwaite—Mary too begins to improve. She becomes active and interested in the world around her (in India, she was always "too hot and languid to care about anything.") The reader thereby recognizes that there is nothing innately cruel about Mistress Mary: she is a victim of her own isolation. Mary develops real affection for her maidservant, Martha Sowerby, and for the robin redbreast that lives in the secret garden. She falls thoroughly in love with Dickon, and befriends Colin and Ben Weatherstaff; in short, she becomes utterly engrossed in the world around her. The English landscape and her work in the secret garden have a miraculously restorative effect upon her: by novel's end, Mary is no longer bitter and friendless, but is instead an ordinary playful ten-year-old girl surrounded by her intimates.So long as Mistress Mary's mind was full of disagreeable thoughts...she was a yellow-faced, sickly, bored and wretched child...When her mind gradually filled itself with robins...with springtime and with secret gardens coming alive day by day, and also with a moor boy and his "creatures," there was no room left for the disagreeable thoughts...[and so she became well and happy].

結果 (繁體中文) 1:

該小說向讀者介紹瑪麗開始 - 儘管它或許會更準確的說，它首先向我們介紹她的缺點。她被描述成醜陋，脾氣暴躁，和惡毒苛刻; 總之，她是“為殘暴和自私一點頭豬住過。” 與此同時，然而，讀者。據了解，瑪麗的可惡的源不正是她：怪謊言與她的父母，尤其是她的母親。通過女兒的醜陋和多病失望，瑪麗的母親無情地拒絕見她，反而讓她在照顧誰在所有的孩子根本不在乎印度僕人的隨從。僕人但是，必須服從她的每一個突發奇想，在此可以發現她的專橫之源。瑪麗的唯一的樂趣，即使是在新的早期點，為發揮園藝：她坐在一棵樹下，隨便在聲音的土堆放在切花。她的父母在霍亂疫情死亡後，她在同一個活動的牧師和他的家人的房子嚙合。在小說的第一部分，瑪麗保持冷漠和粗魯; 然而，無所不知的敘事始終清楚地表明，瑪麗是因為她的幼兒期的悲慘情況只有這麼可怕。讀者可以訪問孤獨和位移瑪麗自己無法表達，但深感。她的情況下，瞬間提高，也就是說，她在米瑟韋斯特瑪麗到達過的瞬間開始改善。她變得活躍和她周圍有志於全球（在印度，她總是“太熱了，懶洋洋的關心任何事情。” ）讀者，從而認識到，沒有什麼天生的殘酷約瑪麗小姐：她是她自己隔離的受害者。瑪麗開發真正疼愛她的婢女，瑪莎索爾比，和知更鳥知更鳥是生活在秘密花園。她愛上了迪肯下降徹底，並且協助科林和元本; 總之，她變得完全在她周圍的世界全神貫注。英國景觀和她的秘密花園工作有在她奇蹟般地恢復體力的效果：通過小說結尾，小麗不再是苦的寂寞，但不是一個普通的俏皮十歲的小女孩包圍她的密友。和知更鳥知更鳥，生活在秘密花園。她愛上了迪肯下降徹底，並且協助科林和元本; 總之，她變得完全在她周圍的世界全神貫注。英國景觀和她的秘密花園工作有在她奇蹟般地恢復體力的效果：通過小說結尾，小麗不再是苦的寂寞，但不是一個普通的俏皮十歲的小女孩包圍她的密友。和知更鳥知更鳥，生活在秘密花園。她愛上了迪肯下降徹底，並且協助科林和元本; 總之，她變得完全在她周圍的世界全神貫注。英國景觀和她的秘密花園工作有在她奇蹟般地恢復體力的效果：通過小說結尾，小麗不再是苦的寂寞，但不是一個普通的俏皮十歲的小女孩包圍她的密友。

只要瑪麗小姐的心中充滿了不愉快的想法......她是一個黃色的臉的，體弱多病，無聊和可憐的孩子......當她的腦海裡漸漸本身鳥啼......充滿春天有與秘密花園活過來的一天白天，也與荒原的男孩和他的“動物”，有沒有空間留給不愉快的想法... [和讓她成為好和快樂。

結果 (繁體中文) 2:

Xin lỗi nhưng chúng ta đã cập nhật giá quá trễ.Khéch hüng v _a x_c nh_n h ___請求預訂 v _i fwd c_ cho l_h_ng n_y.Hy v _ng c_ th _h_p t_c v _i b_n v _i l_h_ng k_ ti_p ...

結果 (繁體中文) 3:

這部小說首先向讀者介紹瑪麗——雖然說起來可能更準確些，但首先要向我們介紹她的缺點。她被描述為醜陋、脾氣暴躁、苛求惡毒；簡言之，她“像以前一樣暴虐、自私，是一頭小猪。”然而，同時，讀者也明白，瑪麗的仇恨並不完全來自於她：罪魁禍首在於她的父母，尤其是她的母親。瑪麗的母親對她女兒的醜陋和病態感到失望，她殘忍地拒絕見她，而是把她交給一個印度僕人的隨從照顧，這些僕人對孩子一點也不關心。然而，僕人必須聽從她的每一個心血來潮，從中可以找到她專橫的根源。即使在小說的早期，瑪麗唯一的樂趣就是玩弄園藝：她坐在一棵樹下，悠閒地把切花放在成堆的聲音中。在她父母死於霍亂之後，她在牧師和他的家人家裡從事同樣的活動。在小說的第一部分中，瑪麗始終保持著冷漠和粗魯；然而，無所不知的敘述者始終清楚地表明，瑪麗之所以如此可怕，是因為她幼年時的悲慘境遇。讀者可以感受到瑪麗自己無法表達的孤獨和流離失所，但卻深深地感受到了這種孤獨和流離失所。她的情况一改善，也就是說，她一到Misselthwaite瑪麗也開始好轉。她變得活躍起來，對周圍的世界感興趣（在印度，她總是“太熱和懶散，什麼都不關心。”）讀者囙此認識到，瑪麗夫人並沒有天生的殘酷：她是自己孤立的受害者。瑪麗對她的女僕瑪莎·索厄比和住在秘密花園裏的知更鳥紅胸產生了真正的感情。她深深地愛上了狄肯，並與科林和本·韋瑟斯塔夫交上了朋友；簡言之，她完全沉浸在她周圍的世界中。英國的風景和她在秘密花園裏的工作對她產生了奇迹般的恢復作用：到小說的結尾，瑪麗不再是一個苦澀和沒有朋友的人，而是一個普通的十歲女孩，周圍都是她的密友。
只要瑪麗家後的腦子裏充滿了不愉快的想法……她是一個臉色發黃、病態、無聊和可憐的孩子……當她的腦子裏漸漸地充滿了知更鳥……春天和秘密花園一天比一天活躍起來，還有一個摩爾男孩和他的“生物”，就沒有地方容納這些不愉快的想法了……[而且所以她變得又好又快樂。