初读《城南旧事》，好像陷入一个复古的相册，在一片泛黄之中去找寻那一份关于童年的记忆。
The first reading of the old story in the south of the city seems to fall into a retro album, looking for the memory of childhood in the yellow.
童年是短暂，因短暂而美好。对许多人来说，童年是一本读不完的书，充满童真、快乐，对未知的好奇与神秘感，所有一切的一切，都美好而易逝，易逝而美好。写童年的作家很多，但林海音描述童年的手法却与其他作家不同，一反惯常使用的体验性随笔文体，通过一位小姑娘之眼，来窥探发生在身边的成人世界书中的林海音用细腻的笔触去刻画一个个人物，那一段段"旧事"仿佛就在眼前，一个个鲜活的人物形象，纷纷出场：无文化却任劳任怨生了一大堆孩子的母亲；充满威严具进步思想却早逝的父亲；用奶水和帮工做一年四个月换取一个月四块钱，两副银首饰、四季衣裳，一床新铺盖的宋妈；感情受挫导致成了"疯子"最后丧身于车祸的秀贞母女；充满女性柔媚风情而又善解人意的风尘女兰姨娘；因生活所迫走上偷盗之路的收买破旧货的小子......有反复出现的主角人物，也有蜻蜓点水，几笔带过，却入木三分，让人过目难忘的配角。作者铺陈了一幅生活画卷，让人不单读到老北京的一些旧日风土人情，也读到作为移民者的英子一家从故乡闽南带来的文化痕迹。
Childhood is short, because short and beautiful. For many people, childhood is an endless book, full of innocence, happiness, curiosity and mystery about the unknown. Everything is beautiful and perishable, perishable and beautiful. There are many writers who write about childhood, but Lin Haiyin's way of describing childhood is different from other writers. Instead of the usual experiential essay style, through the eyes of a little girl, Lin Haiyin peeps into the adult world around him, portrays each character with delicate strokes. That "old story" seems to be in front of him, each vivid character image, one after another Appearance: a mother who has no culture but has worked hard to bear a lot of children; a father who is full of dignity and progressive thought but dies early; a songma who works with milk and helpers for four months a year for four yuan a month, two pairs of silver jewelry, four seasons' clothes and a new bed; a Xiuzhen mother and daughter who died in a car accident due to emotional frustration; a mother who is full of feminine charm and good at understanding Auntie LAN, a woman of the world, is a boy who buys old things because life forces her to steal There are recurring protagonists, but also dragonfly skimming the water, a few strokes, but three points into the wood, let people see unforgettable supporting role. The author has laid out a picture of life, which makes people not only read some old customs and customs of old Beijing, but also read the cultural traces brought by yingzi family as a settler from their hometown of Minnan.
通过小孩的眼光看大人世界，通道似乎窄了，却也增加了小说的纯度和想象空间。在英子眼里，无论哪一个人物，都是善良的，纵是当了贼的卖小杂货男青年，宋妈懒做好吃嗜赌没责任心的丈夫"黄板儿牙"，也不例外。这正切合了一个孩子对人世的最初认知：人之初，性本善。故结构简单，却耐人寻味。
Looking at the adult world from the perspective of children, the passage seems narrow, but it also increases the purity and imagination space of the novel. In yingzi's eyes, no matter which character is kind, even if it's a young man who sells groceries as a thief, Song Ma is lazy to be a husband who likes to eat, gamble and has no sense of responsibility, "yellow plate and teeth", no exception. This is in line with a child's initial recognition of the world: at the beginning of man, nature is good. So the structure is simple, but intriguing.
提及童年，眼前便不觉浮现屋后的池塘，母亲的巴掌以及父亲每次回家背的包。这些东西好像全部定格在生命之中，怎么挥都挥不去。真有一种"玉户帘中卷不去，捣衣砧上拂还来"的感觉。
When it comes to childhood, the pond behind the house, the slap of the mother and the bag that the father carries every time he goes home appear before his eyes. It seems that all these things are fixed in life and cannot be waved away. There is a feeling that "the curtain of the jade household cannot be rolled away, and the clothes can be pounded and the anvil can be brushed back".
童年如梦，梦出外婆的桥；童年如桥，接着未来的路。一直以来，，都觉得这是对童年的最佳注解。是啊！童年如梦，梦里的一切都是新奇的，所以孩时的我们不会觉得累。像林海音一样，用孩子的眼光去自看世界，那这个世界以及这生命，便是一场梦，一场不会累的梦，一场纯净如水的梦。
Childhood is like a dream, dreaming of grandma's bridge; childhood is like a bridge, and then the future road. All along, I think this is the best annotation of childhood. Yeah! Childhood is like a dream. Everything in the dream is novel, so we don't feel tired when we are children. Like Lin Haiyin, to see the world from the perspective of children, that world and this life is a dream, a dream that will not be tired, a dream that is pure as water.
