海明威的名言范文

導(dǎo)語：如何才能寫好一篇海明威的名言，這就需要搜集整理更多的資料和文獻(xiàn)，歡迎閱讀由公務(wù)員之家整理的十篇范文，供你借鑒。

篇1

四禁并舉、堵源截流、嚴(yán)格執(zhí)法、標(biāo)本兼治。

防毒反毒，人人有責(zé)。

開展禁毒宣傳，增強(qiáng)全民禁毒意識(shí)。

除毒務(wù)早，除毒務(wù)盡！

一日不絕，禁毒一刻不止。

加大禁毒力度，深化禁毒斗爭！

動(dòng)員起來，打一場禁毒的人民戰(zhàn)爭！

開展綜合治理，根除危害！

篇2

“珍愛生命，拒絕！”這八個(gè)字一針見血的指出了對(duì)生命健康的危害，一個(gè)人一旦吸毒上癮，無異于慢性自殺，在腐蝕人的思想意志的同時(shí)也奪去了人體的健康。吸毒者四體不勤、臉色蒼白，毒癮發(fā)作時(shí)打呵欠，流鼻涕，如果此時(shí)得不到，進(jìn)而發(fā)展至煩躁不安、大喊大叫、甚至于歇斯底里、精神異常，而且吸毒者身體對(duì)的依賴性不斷增強(qiáng)。因此需要不斷的加大用毒劑量，而缺乏醫(yī)學(xué)常識(shí)的吸毒者往往因掌握不好劑量而一命嗚呼，更何況還有因吸毒者共同注射針頭而傳染上如艾滋病等可怕的疾病。再來算一筆經(jīng)濟(jì)帳，一個(gè)吸毒者每天至少需要吸食或注射海洛因0.1克，而0.1克海洛因黑市零售價(jià)是一百元，那么一個(gè)月就三、四千元，一年就是四、五萬元。如此巨額的費(fèi)用，搞得吸毒者家庭破裂，妻離子散，甚至于為籌措毒資，偷盜搶劫、綁架殺人，走上刑事犯罪的道路。現(xiàn)在社會(huì)上流通的主要有鴉片、海洛因、可卡因、冰毒、“”，及其它一些國家管制的和品，這些毒性大、成癮性強(qiáng)，一旦成癮，人體脫毒過程十分漫長，吸毒者戒了再吸、吸了再戒，反反復(fù)復(fù)，有人用“一朝吸毒，終生戒毒”來形容戒除毒癮的難度，因此戒毒的最好辦法就是絕不吸毒。

青少年是父母的希望，他們因?yàn)樗枷氩簧形闯墒欤鐣?huì)經(jīng)驗(yàn)不夠豐富，自身免疫力較差，加上影視劇的渲染和社會(huì)不良分子的拉攏引誘，嘗試吸毒最后成癮難以自拔的事例屢見不鮮，一些青少年因青春期特有的叛逆心理或受家庭和學(xué)校壓力太大，主動(dòng)尋求刺激，緩解壓力導(dǎo)致鑄成大錯(cuò)的事例也大量存在，目前在國內(nèi)、省內(nèi)已經(jīng)出現(xiàn)學(xué)生參予吸毒的現(xiàn)象，預(yù)防學(xué)生吸毒已經(jīng)是迫在眉睫的一個(gè)重大問題，我市又受浙南經(jīng)濟(jì)發(fā)達(dá)地區(qū)的影響，其向我市滲透不斷加劇，這種局面的嚴(yán)重必須要引起家長的高度警惕。

在“”禁毒宣傳日到來之際，我們在此呼吁家長提高對(duì)巨大危害性的認(rèn)識(shí)，高度關(guān)注孩子們的精神生活，引導(dǎo)孩子們結(jié)交良師益友，希望通過我們共同的努力，為孩子們的成長鋪一條平安大道，使他們的明天更加美好。

篇3

行走在海明威生命的田野上，槍林彈雨洗刷著他的靈魂，不朽的詩篇何時(shí)翻看？是什么讓他由一個(gè)英俊少年轉(zhuǎn)變成一個(gè)滄桑的“硬漢”？是什么讓他創(chuàng)造了如此輝煌的業(yè)績？誰敢想象，他創(chuàng)造的著作銷量僅次于《圣經(jīng)》！

在一個(gè)個(gè)孤夜中，是誰伴他走過？是婚姻的一次次失敗，身上的一個(gè)個(gè)彈片，心中的一道道創(chuàng)傷！但他挺過來了！他背負(fù)著這一切噩夢走過了62年！兩次大戰(zhàn)中給他留下的幾十次傷痛，幾百枚彈片，但他走過來了！他在自己的夢之邊界筑起的堅(jiān)強(qiáng)堡壘，哪里是子彈穿得破的？四次失敗的婚姻留給他的是每夜連綿不絕的噩夢，每日不堪回首的痛苦，但他挺過來了！他早在自己的靈魂邊界，鋪就了一條又一條雄壯精神的河流。

堅(jiān)毅是他的標(biāo)志，硬漢是他的名片！他曾借《老人與海》中桑提阿果的口說：“人可以失敗，但不可以被擊敗。外在的肉體可以接受折磨，但是內(nèi)在的意志卻是神圣而不可侵犯的！”沒錯(cuò)，他可以被毀滅，但絕不會(huì)被擊敗！他用他堅(jiān)強(qiáng)的硬漢性格，書寫著自己的人生篇章！他用手槍結(jié)束了自己的生命，生命本是脆弱的，可這件事發(fā)生在他的身上，又怎能算是脆弱？“死在幸福之前最光榮。”海明威在自殺前曾在日記中如是寫道，可知他是多么堅(jiān)定、堅(jiān)強(qiáng)的人！

海明威的堅(jiān)毅性格在《老人與海》和《永別了，武器》中都有完美的詮釋，當(dāng)然簡潔的文風(fēng)也是他行文的一大利器。

在《永別了，武器》發(fā)表之前他總共修改了39次，其實(shí)恐怕還不止這么多吧！據(jù)說他寫完今天的稿子，當(dāng)天修改一次，第二天又會(huì)修改一次，這么說來又何止39次呢？當(dāng)他聽說外界傳他寫作一天用了20支鉛筆時(shí)，他只笑笑說了一句：“只用了7支。”每一句話每一段落都寫得盡量簡潔，是海明威的工作信條，而他站著寫作的獨(dú)特習(xí)慣，更是令人汗顏，他曾經(jīng)說過：“我站著寫，而且用一只腳站著。我采取這種姿勢，使我處于一種緊張狀態(tài)，迫使我盡可能簡短地表達(dá)我的思想。”正是這種思想、這種精神使他創(chuàng)造了如此的輝煌。他就像一顆明星，用光芒照亮了我的心。我想象著這樣的畫面：他單吊著腳，鎖著眉，低著頭，手不停移動(dòng)，寫下一串串可愛的字母，刻畫下自己內(nèi)心的靈魂。

行走在海明威的心路上，一路的風(fēng)景也許不美，結(jié)局也許不美，但他就是一位文學(xué)巨匠，更是一個(gè)靈魂堅(jiān)毅之偉人！

篇4

一、引言

20世紀(jì)初美國正在經(jīng)歷著一個(gè)經(jīng)濟(jì)繁榮發(fā)展的時(shí)期，西進(jìn)運(yùn)動(dòng)持續(xù)發(fā)展。同時(shí)美國北部阿拉斯加與加拿大接壤地區(qū)發(fā)現(xiàn)黃金，吸引一大部分人前往追隨“淘金熱”。出生于19世紀(jì)末期的杰克?倫敦因貧困輟學(xué)加入淘金者行列，在早年的創(chuàng)作中深受尼采的哲學(xué)思想，和達(dá)爾文的進(jìn)化論影響。《野性的呼喚》源于他去道森的一次旅行，以加拿大科隆代科地區(qū)發(fā)現(xiàn)黃金為背景，講述了一條名叫布克的狼犬，出生于米勒法官家享受著貴族般的待遇，有強(qiáng)烈的自尊但因優(yōu)厚的生活待遇逐漸失去了狼犬的本性。隨后被園丁莫妞爾賣給飯店老板以還清賭債。幾經(jīng)周折，布克被轉(zhuǎn)手多次并逐漸從南方轉(zhuǎn)移到北方極寒地區(qū)，給加拿大政府郵遞員巴羅特和法蘭夏拉雪橇送信，到最后遇到新的主人桑頓。桑頓死后，布克重新回歸自然回歸本性的故事。小說以狼犬布克的視角用擬人的修辭手法以地點(diǎn)的變化為線索開展故事情節(jié)。而海明威經(jīng)歷了兩次世界大戰(zhàn)，是“迷失的一代”的典型作家。海明威在一戰(zhàn)以后移居古巴根據(jù)自己親身經(jīng)歷創(chuàng)作了《老人與海》，主人公是一個(gè)年邁的漁夫桑迪亞哥，因整整84沒有捕到魚而被周圍鄰居嘲笑蔑視，他雖然年紀(jì)很大卻有很強(qiáng)的進(jìn)取心，多次出海捕獵，遇到一條巨大的馬林魚，老人與這條魚搏斗了整整三天三夜到最后帶著一副魚的軀殼凱旋而歸，他戰(zhàn)勝了馬林魚，證明了自己的尊嚴(yán)。

二、“超人”和“硬漢”在自然環(huán)境中的塑造

杰克?倫敦和海明威都善于用環(huán)境來塑造他們的形象，把主人公置身于惡劣的自然環(huán)境中，在人與自然的斗爭和相互抵牾滲透中展現(xiàn)個(gè)人精神品質(zhì)，以艱苦的自然環(huán)境為背景反襯人物的個(gè)性品質(zhì)。杰克?倫敦筆下的布克經(jīng)歷了不同的社會(huì)環(huán)境和自然環(huán)境，從文明世界到蠻荒世界，從溫暖的南部到極寒的北部，一步步被迫放下自尊和高傲，在失去柯利以后意識(shí)到蠻荒世界沒有規(guī)則秩序可言，學(xué)會(huì)在惡劣的雪地里睡覺，學(xué)會(huì)察言觀色，逐步扔掉文明的習(xí)慣，生活能力逐步增強(qiáng)，不斷復(fù)蘇動(dòng)物的天性和本能。因極強(qiáng)的生存意識(shí)和技能受到原來的狗的領(lǐng)隊(duì)史皮茲不斷挑釁，最終在一場決斗中戰(zhàn)勝史皮茲變成新任領(lǐng)隊(duì)。通過布克與史皮茲的決斗，杰克?倫敦想要通過生與死的斗爭，求生的意志力和欲望使得強(qiáng)者與弱者對(duì)立，呼應(yīng)了達(dá)爾文主義的叢林法則。布克展現(xiàn)的是一個(gè)克服自己的生理缺陷，解放天性和本能，挑戰(zhàn)自然法則和不可戰(zhàn)勝的自然力量的超人形象。同樣在短篇小說《生火》里面杰克?倫敦刻畫的是一個(gè)在自然面前脆弱渺小的無名淘金者，在一只狗的陪伴下在嚴(yán)寒的荒野中生存。因?yàn)槿瞬荒茉跇O寒的地區(qū)生存，他挑戰(zhàn)自然法則挑戰(zhàn)極限，雖然頑強(qiáng)的精神可嘉但最終以死亡告終。杰克?倫敦深受尼采的宿命論影響，認(rèn)為人不可能逃避自己先天的缺陷，在自然面前叢林法則面前，人是不堪一擊無法反抗的，他筆下的超人英雄因而常常是以悲劇結(jié)尾。

而海明威的創(chuàng)作往往用人物升華的行動(dòng)精神代表人類對(duì)自然的抗?fàn)帲赜诒憩F(xiàn)人類身上的某種不服輸精神，面對(duì)困難與失敗不甘懦弱的勇氣。桑迪亞哥與大馬林魚大戰(zhàn)三天三夜，遭受暴風(fēng)雨和周圍的鯊魚的襲擊，但最后大馬林魚被鯊魚吃光只剩骨架，老人帶著骨架返回港口也被鄰居拍手稱贊。老人通過拼搏的力量和頑強(qiáng)不息的精神戰(zhàn)勝困難，展現(xiàn)的是一個(gè)可歌可泣精神勇氣可嘉的硬漢英雄形象，充分踐行了自己的人生信條“人不是為失敗而生的, 一個(gè)人可以被毀滅, 但不能被打敗”。海明威認(rèn)為自然力也是不可抗拒的，但人在自然面前不是要去考慮一個(gè)勝負(fù)，失敗或者成功，而是通過與困難的搏斗，努力保持清醒，展示人類超乎尋常的意志力，在失敗面前不灰心，保持強(qiáng)者尊嚴(yán)，給讀者一注振奮人心的精神助劑。因此，超人形象和硬漢形象有著本質(zhì)區(qū)別。

三、“超人”和“硬漢”在社會(huì)環(huán)境中的體現(xiàn)

但兩者不無相似之處。在當(dāng)時(shí)的時(shí)代背景下，滿足美國的邊疆建設(shè)以及政治經(jīng)濟(jì)文化建設(shè)的發(fā)展需求。杰克?倫敦的“超人”是“淘金熱”時(shí)期實(shí)干家和西部牛仔的化身。當(dāng)時(shí)的美國需要開拓國土建設(shè)邊疆，遍地是黃金，正需要有進(jìn)取精神和創(chuàng)新精神的人才，不斷克服自身局限，在人與自然的不斷抗?fàn)幹许频Z前行。

海明威筆下的“硬漢”也是美國的實(shí)干家的化身。在海明威晚年時(shí)期，美國經(jīng)歷兩次世界大戰(zhàn)以后，百廢待興，需要不斷注入新鮮活力重振美國。歐洲傳統(tǒng)的紳士形象，貴族文化與禮儀，不符合美國社會(huì)發(fā)展的要求，必將被時(shí)代所淘汰。因此兩位作家在滿足美國社會(huì)的現(xiàn)實(shí)需求下的“超人”和”硬漢”形象應(yīng)運(yùn)而生。

篇5

   《老人與海》海明威小說讀后感

   “一艘船越過世界的盡頭，駛向未知的大海，船頭上懸掛著一面雖然飽經(jīng)風(fēng)雨剝蝕卻依舊艷麗無比的旗幟，旗幟上，舞動(dòng)著云龍一般的四個(gè)字閃閃發(fā)光——超越極限！”作者海明威是這樣評(píng)價(jià)他的作品《老人與海》的。

   《老人與海》塑造了一個(gè)經(jīng)典的硬漢形象。古巴的一個(gè)名叫桑地亞哥的老漁夫，獨(dú)自一個(gè)人出海打魚，在一無所獲的48天之后釣到了一條無比巨大的馬林魚。這是老人從來沒見過也沒聽說過的比他的船還長兩英尺的一條大魚。魚大勁也大，拖著小船漂流了整整兩天兩夜，老人在這兩天兩夜中經(jīng)歷了從未經(jīng)受的艱難考驗(yàn)，終于把大魚刺死，拴在船頭。然而這時(shí)卻遇上了鯊魚，老人與鯊魚進(jìn)行了殊死搏斗，結(jié)果大馬林魚還是被鯊魚吃光了，老人最后拖回家的只剩下一副光禿禿的魚骨架。

   海明威為什么沒有讓老人最終勝利呢？用小說中老人的話來說：“一個(gè)人并不是生來就要被打敗的”，“人盡可以被毀滅，但卻不能被打敗。”這就是《老人與海》想揭示的哲理。不可否認(rèn)，只要是人就都會(huì)有缺陷。當(dāng)一個(gè)人承認(rèn)了這個(gè)缺陷并努力去戰(zhàn)勝它而不是去屈從它的時(shí)候，無論最后是捕到一條完整的馬林魚還是一副空骨架，這都已經(jīng)無所謂了，因?yàn)橐粋€(gè)人的生命價(jià)值已在那追捕馬林魚的過程中充分地體現(xiàn)了。曾經(jīng)為自己的理想努力追求過、奮斗過，難道他不是一個(gè)勝利者嗎？老漁夫就是敢于挑戰(zhàn)自身缺陷及自己勇氣和信心的勝利者。從世俗勝利觀的角度看，老漁夫不是最后的勝利者，因?yàn)楸M管開始他戰(zhàn)勝了大馬林魚，但是最終大馬林魚還是讓鯊魚吃了，他只是帶著大馬林魚的白骨架子回到了岸上，也就是說，鯊魚才是勝利者。可是，在理想主義者眼里，老漁夫就是勝利者，因?yàn)樗冀K沒有向大海沒有向大馬林魚更沒有向鯊魚妥協(xié)和投降。就如音樂大師貝多芬所說“我可以被摧毀，但我不能被征服”。

   人性是強(qiáng)悍的，人類本身有自己的限度，但正是因?yàn)橛辛死蠞O夫這樣的人一次又一次地向限度挑戰(zhàn)，超越它們，這個(gè)限度才一次次擴(kuò)大，一次次把更大的挑戰(zhàn)擺在了人類面前。在這個(gè)意義上，老漁夫桑地亞哥這樣的英雄，不管他們挑戰(zhàn)限度是成功還是失敗，都是值得我們永遠(yuǎn)敬重的。因?yàn)椋麕Ыo我們的是人類最為高貴的自信！

   人生本來就是一種無止境的追求。它的道路漫長、艱難，而且充滿坎坷，但只要自己勇敢頑強(qiáng)地以一顆自信的心去迎接挑戰(zhàn)，他將永遠(yuǎn)是一個(gè)真正的勝利者！

   《老人與海》海明威小說讀后感

   “人不是為失敗而生的，一個(gè)人可以被毀滅，但不能被打敗。”這是文學(xué)巨匠海明威的文學(xué)巨著《老人與海》中的一句至理名言，這條格言陪著人類走過了漫長的歲月，伴著人類度過了無數(shù)艱難的時(shí)刻，毫不夸張的說，這句話一直是鼓舞著人們勇往直前的不懈動(dòng)力。

   《老人與海》講述的是一位經(jīng)驗(yàn)豐富的老漁夫圣地亞哥的故事。圣地亞哥和一位名叫馬洛林的小男孩成為了忘年之交，在歷經(jīng)八十四天還沒有捕到魚之后，兩人毅然決然的相約出海。出海那天天氣很不錯(cuò)，而蒼天也很眷顧他們，兩人很容易就釣到了一條巨大的大馬林魚。兩人原以為他們能就此返航龍龍，可不幸的是，他們捕獲的大魚引來了鯊魚的圍擊，兇狠龐大的鯊魚一直在猛烈進(jìn)攻，似乎在逼迫著，威脅著圣地亞哥放棄這條大魚。不過圣地亞哥也不是一個(gè)懦夫，身處危險(xiǎn)之中，面對(duì)巨大威脅，面臨死亡氣息，這位老漁夫一直在頑強(qiáng)抵抗著。盡管最后那條肥大鮮美的大魚被鯊魚啃食破壞得只剩下了一副骨架，圣地亞哥也沒有放棄輕易放棄這條來之不易的大魚。

   讀完這篇小說后，我的感觸頗深，尤其是那一句“一個(gè)人可以被毀滅，但不可以被打敗。”緊緊牽動(dòng)著我的心，而圣地亞哥那臨危不懼，無謂抗?fàn)帲啦谎詳。啦谎詶壍木窀巧钌钫鸷持遥袆?dòng)著我，啟迪著我，教育著我，指導(dǎo)著我，鼓勵(lì)著我。

   人類很偉大，很堅(jiān)強(qiáng)，很有潛力，很有毅力；但是人類又好渺小，好脆弱，好容易言敗，好容易妥協(xié)。當(dāng)我們遇到困難時(shí)，身處困境時(shí)，覺得害怕并不丟人，感覺恐懼也并不失常，但是我們一旦有了放棄的念頭，有了逃避的想法，有了妥協(xié)的行為，那就是膽小鬼的表現(xiàn)了，那樣只會(huì)讓人寒心，讓人小看，讓人唾棄，讓人遠(yuǎn)離。

   人生在世，還是需要一點(diǎn)傲氣，需要一些傲骨的，無論何時(shí)何地都能做到自強(qiáng)自信，無懼無畏，那才是真英雄，真本色！但要是自暴自棄，貪生怕死，畏手畏腳，膽小怕事，那就只會(huì)招致失敗，只會(huì)深陷深淵，得不到尊敬，得不到尊重，得不到成功，得不到救贖。

   希望每個(gè)人都能在遇到鯊魚時(shí)，勇敢捍衛(wèi)自己的馬林魚；但愿每個(gè)人都能在陷入困境時(shí)，大膽對(duì)抗黑暗的爪牙；也愿我們在人生征途中，能夠一直勇敢堅(jiān)強(qiáng)，不屈不撓的奮斗著，堅(jiān)持著！

   《老人與海》海明威小說讀后感

   “一個(gè)人并不是天生就要被打敗的，你盡可以消滅他，卻打不敗他。”這句話出自于海明威的《老人與海》。這句話是這本書的精華，值得人深入思考。

   本書講述了老人圣地亞哥經(jīng)過數(shù)次與鯊魚搏斗及他捕魚的經(jīng)驗(yàn)，讓他捕獲了一條鯊魚，在老人回來的時(shí)候，鯊魚肉被其它兇猛的魚奪去，老人空手而歸了。

   一條鯊魚，一位老人，一只小船，一片大海，不禁令人無限感慨、無限遐想。一位老人，永不言敗的精神！一片大海，充滿挑戰(zhàn)；一只小船，寂寞與苦難；這些看似平凡的事物卻演繹了一個(gè)不平凡的經(jīng)歷。

篇6

塑造硬漢形象的文學(xué)作品。

如海明威作品中出現(xiàn)的一系列人物形象。這些人物有拳擊師、斗牛士、獵人、漁人等，他們都具有一種百折不撓、堅(jiān)強(qiáng)不屈的性格，面對(duì)暴力和死亡，面對(duì)不可改變的命運(yùn)，都表現(xiàn)出一種從容、鎮(zhèn)定的意志力，保持了人的尊嚴(yán)和勇氣。桑提亞哥的名言“人可以被毀滅，但不能被打敗”，即是這種“硬漢”形象的精神境界。

（來源：文章屋網(wǎng) ）

篇7

《老人與海》這本書主要講了古巴老漁夫桑地雅哥出海了八十四天一無所獲，在開始的前四十天還有一位小男孩同老漁夫桑地雅哥一起出海的可是過了四十天還是捉不到一條魚。這里給大家分享一些關(guān)于老人與海初中讀后感，供大家參考。

老人與海初中讀后感1“一艘船越過世界的盡頭，駛向未知的大海，船頭上懸掛著一面雖然飽經(jīng)風(fēng)雨剝蝕卻依舊艷麗無比的旗幟，旗幟上，舞動(dòng)著云龍一般的四個(gè)字閃閃發(fā)光——超越極限!”作者海明威是這樣評(píng)價(jià)他的作品《老人與海》的。

《老人與海》這本書講了這么一個(gè)故事：古巴老漁夫圣地亞哥連續(xù)八十四天沒捕到魚，被別的漁夫看做失敗者，可是他堅(jiān)持不懈，終于釣到了一條大馬哈魚，大馬哈魚將他的小船在海上拖了三天才筋疲力盡，被他殺死了綁在小船的一邊，在歸程中一再遭到鯊魚的襲擊，他用盡了一切手段來反擊。回港時(shí)只剩魚頭魚尾和一條脊骨。盡管魚肉都被鯊魚咬去了，但什么也無法摧殘他的英勇意志。

圣地亞哥是個(gè)可憐的老頭。海明威以自己精煉的語言塑造了這個(gè)形象，可以說，海明威并沒有給予老人成功，卻賦予老人在壓力下優(yōu)雅而堅(jiān)韌的形象。

這本書恰當(dāng)?shù)貙懗隽松膹?qiáng)度，告訴我們怎么去面對(duì)生、老、病、死，告訴我們心該有多寬。老人是孤獨(dú)的，他是在理想的道路上前行的旅人，但他又是不孤獨(dú)的，因?yàn)樗囊庵臼悄菢拥膱?jiān)強(qiáng)。

這本書，我的心久久不能平靜，這位普通而又可敬的老人使我深深的懂得了：做人不應(yīng)該被任何困難所屈服，應(yīng)該盡自己最大的努力與生活中的磨難做不屈不撓的斗爭。

以前，我做什么事只要有一點(diǎn)不順利，就會(huì)退縮，有時(shí)還會(huì)說上幾句垂頭喪氣的話。在學(xué)習(xí)上，我只要有幾次考試不是很理想就沒有信心，認(rèn)為自己考不到好成績。《老人與海》中，主人公與鯊魚搏斗，魚叉被鯊魚帶走了，他就把小刀綁在槳把上。刀子折斷了，他就用短棍。短棍也丟掉了，他就用舵把。這種充滿信心、鍥而不舍的精神，不正是我所缺少的嗎?

今后，我不管遇到什么困難，都要信心十足地去面對(duì)，堅(jiān)持到底，決不退縮。我要感謝這本書，感謝它讓我學(xué)到了那么多知識(shí)，感謝它讓我懂得了那么多道理，感謝它讓我知道自己的不足，及時(shí)改正自己的缺點(diǎn)，使我成為一個(gè)對(duì)社會(huì)有用的人。一個(gè)真正的強(qiáng)者，只能被摧毀而不能被擊敗。

老人與海初中讀后感2在我近六年的學(xué)習(xí)生涯中，我閱讀了很多課外書籍，但是我印象最深的還是海明威的著作《老人與海》。

剛翻開這本書，我就愛不釋手了。書中主要講了一位風(fēng)燭殘年的老人，一連八十天沒有捕到一條魚，他幾乎快餓死了，但他仍然不肯認(rèn)輸，在第八十五天，他終于捕到了一條身長十八呎，體重一千五百磅的大馬哈魚，魚拖著小船在大海上航行，即使老人沒有水、沒有食物、沒有武器，他仍不放手。終于在兩天兩夜后徒手把大魚殺死了，然而有許多鯊魚來搶奪他的戰(zhàn)利品，他一一殺死了，但是大魚還是沒能逃脫被吃光的命運(yùn)，最終老人筋疲力盡地拉回一副骨架。老人雖然沒換回什么物質(zhì)，但他換來了人們的尊敬，尊嚴(yán)。

書中這位硬漢般老人身上的可貴品質(zhì)使我深受啟發(fā)。如老人一連八十四天沒有捕到一條魚，但是他依然不肯認(rèn)輸，充滿著奮斗到底的精神。如果換做我，我肯定會(huì)抱怨命運(yùn)的不公，心里會(huì)想：“既然我那么倒霉，我就什么也不做了。”到頭來我只會(huì)一事無成，可老人沒有，他勇敢地對(duì)命運(yùn)說“不!”正因?yàn)樗幌嘈抛约河肋h(yuǎn)不會(huì)那么倒霉，相信他付出的努力會(huì)取得最終的成功，才使他在第八十五天里捕到了一條大魚。

老人那不屈不撓的精神同樣使我深受感動(dòng)。在捕到大魚后，大魚拖著小船在海上展開了長達(dá)兩天兩夜的搏斗，此時(shí)的老人的船上已沒有水、沒有食物、沒有任何東西，只有那魚線綁著滲出血的手臂，老人忍著劇痛將大魚殺死。在那種時(shí)期普通人肯定會(huì)非常絕望，他肯定會(huì)放棄與大魚的搏斗，但是老人沒有，他以超乎想象的毅力和和韌勁將大魚殺死。

“你可以被毀滅，卻不可以被打敗。”這是海明威在書中的一句名言，是的一個(gè)人雖然失敗了，但是他的信念和勇氣都被打敗了，那么他終將是個(gè)失敗者，但他依然堅(jiān)持著他的信念和勇氣的話，他的精神就永不會(huì)被打敗!

“人生能有幾回搏?”每當(dāng)我遇到困難和挫折時(shí)，我總會(huì)翻開這本書，因?yàn)樗鼤r(shí)時(shí)刻刻在提醒我不要放棄，要振作起來，做個(gè)像書中老人一樣的勇敢的人!

老人與海初中讀后感3見識(shí)過“富貴”的人，領(lǐng)悟了人對(duì)于災(zāi)難的承受力。即便從家財(cái)萬貫、百畝良田到窮困潦倒、食不果腹，也難以令“富貴”在艱難面前停下。到后來，他的親人一個(gè)個(gè)逝去，最終只剩下他與老黃牛，也不曾對(duì)不幸埋怨過什么。如果說，這樣一個(gè)故事可以我們明白“承受”，那么《老人與海》則可以讓我們戰(zhàn)勝!

老人與海，本就是渺小與龐大的對(duì)比，然而老人卻從未怕過、怨過、恨過。瞧過“魯濱遜”機(jī)智的人，都明白孤獨(dú)的可怕，獨(dú)自一人應(yīng)對(duì)生存的艱難。而將一切更為殘忍的遭遇放在一個(gè)老人身上的時(shí)候，其映射出的感受便不言而喻了。他航海八十多天，一無所獲，看著豐收的同伴，聽聞他們的譏笑，卻毫不在意。沒錯(cuò)，他是樂觀的，這樂觀不僅僅在于以后可能產(chǎn)生的“收獲”，而是他對(duì)蒼天、對(duì)浩海、對(duì)星空的不懼。是的，“擁有”在他眼里不那么重要，他所追求的就是搏斗，無論對(duì)方是大馬林魚還是鯊魚，無論是手抽筋還是幾天幾夜的煎熬，他所需要的就是搏斗。以此來證明自己，不畏年老、不畏磨難、不畏天地給予的一切創(chuàng)傷。

海明威是個(gè)很厲害的人，他將人們對(duì)苦難的應(yīng)對(duì)方式描寫的淋漓盡致。但人終究有一顆柔軟的內(nèi)心，在遇到苦難時(shí)，人們會(huì)想起自己最想見的人，會(huì)突然有很多想對(duì)對(duì)方說的話。然而，當(dāng)周圍空無一物的時(shí)候，也就無所謂了，想想也罷、說說也好，只要不服老，不認(rèn)輸，也就沒什么干不成的。

老人象征著柔弱、無力、滄桑。而比他小船還長的大馬林魚自然是天賜的幸運(yùn)，它一直潛在水里，老人不知道它有多大，它什么時(shí)候會(huì)浮上來，它是否會(huì)逃跑?而將它抓住又能得到什么?在這一切未知的前提下，他緊緊抓著魚竿，拼命的祈禱，想讓這大魚跳起來，跳起來它就死了，又祈禱它千萬別下潛，下潛它就跑了。更可惡的是，該死的雙手隨時(shí)會(huì)抽筋，之前堅(jiān)持了一次，如果抽筋還來，那老人只有割斷魚線了。

最終，老人經(jīng)過了幾天的奮戰(zhàn)，拖著疲憊的身軀把它抓住了。那條大馬林魚比他的船還長，老人只得將它跟船綁在一起，想著回去以后的巨大收獲。“好事兒不能說出來，說出來就不會(huì)實(shí)現(xiàn)了。”這位暮年老者，攜著疲憊的身軀和隨時(shí)會(huì)抽筋的雙手，又遭遇到鯊魚。同時(shí)也證明了“禍不單行”，鯊魚不是一條，更不是兩條，是一群!奄奄一息的大馬林魚狂搖著尾巴，它敗給了老人卻不肯敗給鯊魚，直到大馬林魚被啃掉半巨身軀，依舊在殘喘著。老人拼了命地保護(hù)他的獵物，先是用魚叉，魚叉斷了換刀子，刀子不好使換棍子，最后換成舵柄，舵柄斷了就舵柄的把手扎鯊魚。直到最后，老人累倒在船上，仍舊帶著那副巨大的魚骨回去了。

老人告訴人們一個(gè)事實(shí)，沒有不可戰(zhàn)勝的!所有人都曾在困難下退縮，因?yàn)樗麄儾恢馈按篑R林魚”有多長，不知道“大馬林魚”還可能救他的命，更不知道，只有“大馬林魚”才能發(fā)掘自己的潛力，才能無謂的告訴自己，能戰(zhàn)勝的不僅僅是“大馬林魚”，即使是“鯊魚”甚至是更大的，再大些的都可以!

雖然老人老了，手容易抽筋，容易感到疲憊，沒有多大的力氣，但他卻總夢到獅子……

老人與海初中讀后感4“一個(gè)人并不是生來要被打敗的， 你盡可以把它消滅掉，可就是打不敗他。”圣地亞哥說。讀完這本書讓我更直觀的體會(huì)到了這句話的背后的真正含義。

合上這本書，我的心依然沉浸在洶涌澎湃的大海中。它讓我懂得了什么是堅(jiān)持，什么是頑強(qiáng)。每一次，圣地亞哥的這句話，在我面對(duì)困難時(shí)，給予我莫大的勇氣。

在浩瀚無邊的大海中，一只小小的漁船正駛向遠(yuǎn)方，那正是圣地亞哥的船，它像一頭金色的獅子，毫不畏懼地沖向翻騰的巨浪……

海風(fēng)掠過大海，彌漫著一股血腥味，圣地亞哥掌控著船，拖著一架巨大的魚骨，在茫茫大海中返航。這一次，圣地亞哥終于捕到了一條大魚。這條大魚引來了許多兇猛的鯊魚，剛剛制服大魚的圣地亞哥筋疲力盡，但是圣地亞哥為了保護(hù)辛辛苦苦捕來的魚，與鯊魚們斗了兩天兩夜，始終沒有退縮。最后，大魚只剩下一架殘骨。

雖說最終的結(jié)果還是失敗，但他在我的心中永遠(yuǎn)是英雄。一位英雄，就是不怕一切困難，頑強(qiáng)不屈。圣地亞哥在經(jīng)歷了84次挫敗后繼續(xù)出海打魚，與大魚周旋，與鯊魚搏斗，可以說，他的經(jīng)歷誰都沒有經(jīng)歷到過。可就這樣一次次的挫折，磨煉了老人頑強(qiáng)的意志力，造就了一個(gè)不敗的神話。

前幾天，在新聞當(dāng)中，我又看到了霍金，他與圣地亞哥有幾分相似。霍金擁有異乎常人的頭腦，17歲就考上了劍橋大學(xué)，21歲時(shí)得知自己患上了不治之癥后，消沉過一段時(shí)間。醫(yī)生當(dāng)時(shí)預(yù)測他最多只能活兩年，但兩年后情況并沒有比想象的糟糕。霍金充滿了斗志，胸懷顯得更款管，克服了重重困難，反而繼續(xù)為人類的科學(xué)發(fā)展做出了杰出的貢獻(xiàn)。在他的眼中，重要的是一個(gè)人生命的價(jià)值，而是他克服困難的意志力。

面對(duì)磨難，我們不僅要付出艱辛的汗水，即使最后沒有成功。，既然努力過了，就不會(huì)有遺憾。這正是挫折搭成了一座通向強(qiáng)者的橋。人的一生當(dāng)中，只要我們秉持一顆不屈的心，總有一天我們會(huì)踏上成功的道路，人生也會(huì)更加精彩!

老人與海初中讀后感5我讀過許多書，它們讓我學(xué)到了許多知識(shí)，也讓我懂得了許多做人的道理，其中有一本書，讓我體會(huì)很深，它就是著名作家海明威寫的《老人與海》。

《老人與海》這本書講了這么一個(gè)故事：古巴老漁夫圣地亞哥連續(xù)八十四天沒捕到魚，被別的漁夫看做失敗者。但是他堅(jiān)持不懈，終于釣到了一條大馬林魚，大馬林魚將他的小船在海上拖了三天才筋疲力盡，被他殺死了綁在小船的一邊。在歸程中一再遭到鯊魚的襲擊，雖然他用盡了一切手段來反擊，但回港時(shí)只剩下大魚的骨架。盡管魚肉都被咬去了，但什么也無法摧殘他的英勇意志。這本書向我們揭示了這樣一個(gè)真理：人不是為了失敗而生的，一個(gè)人可以被毀滅，但不能被打敗。

篇8

輕舟一扁，在一望無際的大海邊緣，一位白發(fā)蒼蒼的老人孤獨(dú)的身影置身在小船中。這是在《老人與海》中主人公一位平凡的老人圣地亞哥給我的第一印象。接下來是小編為大家整理的初中生讀老人與海的600字心得體會(huì)范文，但愿對(duì)你有借鑒作用!

初中生讀老人與海的600字心得體會(huì)范文1歐內(nèi)斯特.海明威是馳名世界的美國作家。今天，我有幸讀到了他最有名的一則中篇小說《老人與海》。讀完整篇文章，一個(gè)在失敗和挫折面前不低頭，不氣餒，堅(jiān)韌奮斗的老魚夫形象便在我心中留下了深深的烙印。

古巴老魚夫圣地亞哥接連出海84天沒有捕到一條魚，但他毫不氣餒。第85天他再次出海，好不容易釣住一條比他的魚船還長幾英尺的大馬林魚。拼死抵抗的大魚將船拖到了遠(yuǎn)海，經(jīng)過三天兩夜的艱苦搏斗，老人終于刺死打魚，把它縛在船邊，拖著它返回漁港。但是，途中不時(shí)地遇到兇殘的鯊魚群來襲擊，它們瘋狂地爭事大魚。已極度疲勞的老人又頑強(qiáng)地與鯊魚群搏斗：用魚叉，用刀子，用槳柄，用木棍……最后，他什么武器也沒有了。當(dāng)他終于疲憊不堪地返回漁港時(shí)，SUO大的馬林魚僅剩一具空空的骨架。故事的內(nèi)容就是這樣簡單，但我卻被老人非凡的意志和力量所折服。我佩服老人把人與海的格斗想象為人生格斗，把大馬林魚和鯊魚都看成他浴血奮斗的對(duì)手，佩服他以自己的行動(dòng)證實(shí)人的膽略，人的氣魄，人的價(jià)值，證實(shí)人不是生來要給打敗的!

人的一生何嘗不是這樣呢?在漫漫的旅途中，每個(gè)人都會(huì)遇到無數(shù)的困難與坎坷，但是我相信，只要每個(gè)人拿出自己的勇氣與力量同困難搏斗，你終究會(huì)取得成功。即便最后你與困難“同歸于盡”也絲毫不會(huì)后悔。細(xì)細(xì)地品味完《老人與海》，一句極富生命意義的話在我心中永遠(yuǎn)珍藏了起來：人可以被毀滅，但不能被打敗!

初中生讀老人與海的600字心得體會(huì)范文2“一個(gè)人并不是生來要被打敗的，你盡可以把他消滅掉，可就是打不敗他。”這是一個(gè)孤軍奮戰(zhàn)的勇士——桑提亞歌的名言。他曾是一個(gè)不幸者、失敗者，但同時(shí)又是一個(gè)精神上的強(qiáng)者、勝利者。

看完海明威寫的《老人與海》這部名著我感觸很多。

自信是一個(gè)人取得成功的重要心理因素。桑提亞歌極為自信，從不灰心。盡管84天沒有捕到魚，但是，“他的希望和信心，從來沒有消失過。”他堅(jiān)信“我的大魚一定在什么地方”。當(dāng)成批的鯊魚跟蹤劫掠他的獵物時(shí)，他明知這是一場打不贏的戰(zhàn)斗，但仍不放棄戰(zhàn)斗。他利用魚鉤、槳、舵把、短棍，憑著自己十二分的堅(jiān)強(qiáng)勇氣打敗了鯖鯊、星鯊、犁頭鯊……

人，不管遇到什么困難，都不能喪失勇氣，不能用逃避的態(tài)度去對(duì)待，否則就難以擺脫困難，更別提做事能成功了。想想桑提亞歌在成群結(jié)隊(duì)的鯊魚到來前，盡可放棄戰(zhàn)斗，放棄獵物，可他不僅沒有放棄，反而創(chuàng)造了奇跡。這不正是因?yàn)樗孕艈?在如此險(xiǎn)惡的環(huán)境下還保持著樂觀的情緒，良好的自我感覺，敢于面對(duì)現(xiàn)實(shí)，勇于迎接挑戰(zhàn)。再想想自己多坐一會(huì)，就說腰酸;多走幾步路，就說腿疼;飯菜不合口，就說不吃;作業(yè)多一點(diǎn)，就厭煩，稍難點(diǎn)，就不想做了，隨便應(yīng)付了事，有時(shí)還干脆去抄別人的……想想桑提亞歌，再想想自己，問題已不光是一句慚愧就能解決的了。

文章看完了，它教給我的東西并沒有完。我將從中吸取營養(yǎng)，用勤奮和努力去澆灌成功之花。正如阿爾考特所說：“好書使人開卷時(shí)會(huì)有求，而閉卷時(shí)獲有益處。”

初中生讀老人與海的600字心得體會(huì)范文3暑假里，我讀了一本好書，名叫《老人與海》。它的作者是美國的著名作家海明威，這本書是他的代表作。這本書講述了一個(gè)“背運(yùn)”的老漁夫出海84天都沒有打到魚。在第85天時(shí)，他在海上遇到了一條大魚，經(jīng)過一天一夜的堅(jiān)持，他終于捕獲了大魚。在返航路上，他遇到了一群鯊魚。他奮力與鯊魚搏斗，殺死了幾條鯊魚。但鯊魚最終還是把大魚給吃完了，只留下了一副巨大得令人震驚的魚骨。

表面上，老人沒能守住那條大魚，失敗了。但實(shí)際上他獲得了成功。一路上，他遇到了許多困難，但他都堅(jiān)持不懈，沒有退縮。雖然最終帶回去的只是一副魚骨，但是他卻在種種磨難中獲得了真正的勝利。他這種堅(jiān)持不懈的可貴精神讓我非常敬佩、感動(dòng)。

聯(lián)想到我自己，我在學(xué)電子琴方面就沒能堅(jiān)持不懈。我學(xué)習(xí)電子琴已經(jīng)有五年了，考過了四級(jí)和六級(jí)。今年暑假，我就要考八級(jí)了。八級(jí)的考級(jí)曲對(duì)我而言不算很難，但速度要求非常高，至少要達(dá)到126、

經(jīng)過兩個(gè)學(xué)期的努力，我終于練到了90、可是接下來，我卻總也練不快。速度一快，要么跟不上，要么出錯(cuò)。而且，每次都反反復(fù)復(fù)的練同一首曲子，我感覺很枯燥、無聊。我甚至賭氣不想練琴了，不想再繼續(xù)學(xué)下去了。這時(shí)，我想起了老人與海中的那位老人，他面對(duì)強(qiáng)壯的大魚與龐大的鯊魚，都沒有放棄，堅(jiān)持了下去，我又有什么理由放棄呢?于是，我又開始努力練習(xí)了。我相信，只要我每天堅(jiān)持練習(xí)，我一定能順利地通過考級(jí)的!

讀了《老人與海》，我受益匪淺。你們也趕快來仔細(xì)讀一讀吧!

初中生讀老人與海的600字心得體會(huì)范文4人可以被打敗，但不能放棄

今天，我看了海明威的《老人與海》，書中生動(dòng)的故事情節(jié)，讓我對(duì)它愛不釋手。

《老人與海》主要講述了老漁夫圣地亞哥，一連出海84天，都沒有捕到一條魚。第85天，圣地亞哥出海很遠(yuǎn)，遇到了一條體型異常龐大的馬林魚。老漁夫與它“戰(zhàn)斗”了足足兩天，終于捕獲了大馬林魚。沒想到，在返航的途中，又遭到無數(shù)鯊魚的襲擊。老漁夫拼死抵抗，最終帶著被鯊魚撕咬得幾乎只剩骨架的馬林魚回到了家。

老漁夫在抓捕大馬林魚的過程中，體現(xiàn)出了“硬漢”本色：即使身負(fù)重傷，行動(dòng)不便，依舊不肯放棄，堅(jiān)持與獵物搏斗。我想：正是心中的那一股沖勁兒和堅(jiān)定的信念，才讓他獲得了最終的勝利，這難道不是值得我們學(xué)習(xí)的地方嗎?

讓我最為敬佩的是，老漁夫在與鯊魚搏斗時(shí)，表現(xiàn)出的那種永不放棄的大無畏精神。面對(duì)重重困難和危險(xiǎn)，他毫無畏懼之意，勇于拼搏，這正是老漁夫身上，那金子般閃閃發(fā)光的精神和意志。

書中有句話：“一個(gè)人可以被打敗，但絕不能放棄。”這正是鼓勵(lì)人們積極上進(jìn)的金玉良言。看到這里，我想到了自己。在現(xiàn)實(shí)生活中，我是一名少先隊(duì)員，是祖國未來的希望，但遇到困難時(shí)，我卻時(shí)常害怕和退縮，這和堅(jiān)強(qiáng)勇敢的老漁夫相比，真是差之千里啊!

想到這里，我不由得臉頰發(fā)燙，心中暗下決心：我一定要好好學(xué)習(xí)，在學(xué)習(xí)和生活中遇到困難，也要像老漁夫那樣勇敢面對(duì)，用盡一切辦法，戰(zhàn)勝它們。如果失敗了，就在跌倒處重新站起來，繼續(xù)前進(jìn)。

《老人與海》給了我莫大的啟示，我意猶未盡，繼續(xù)在書的海洋中遨游。

初中生讀老人與海的600字心得體會(huì)范文5失敗，在許多人的眼中是非常可怕的，它一旦猖狂起來，就能擊潰人的斗志，讓人徹底崩潰，失去生活的希望。如果失敗戰(zhàn)勝不了你，而是被你踩在腳下，那么，成功必定屬于你。著名作家海明威在《老人與海》中塑造的那位老人就是一個(gè)敢與失敗作斗爭的例子。

《老人與海》主要講了一位名叫桑地亞哥的老漁翁一次特別的打魚經(jīng)過。在連續(xù)八十四天沒有打到一條魚后，但在第二天，他非常幸運(yùn)地捕獲到了一條巨大的大馬林魚，那條馬林魚是他平生捕到的最大的一條魚，那條魚比他的小船還要長2英尺呢!馬林魚的身體大，力氣自然也大。它拖著老人和小船在海上漂流了兩天兩夜，老人在這兩天兩夜中經(jīng)歷從來沒有經(jīng)歷過的艱難考驗(yàn)。大馬林魚在大海上奮力掙扎，企圖逃回大海，老人為了制服馬林魚，精疲力竭、皮開肉綻，但他并沒有向大馬林魚屈服，他憑著頑強(qiáng)的意志，終于把大馬林魚扎死，拴在了船頭。

然而，幸運(yùn)并沒有出現(xiàn)，等待老人的是更大的考驗(yàn)。一群嗅著血腥味而來的大鯊魚與已經(jīng)皮開肉綻的老人展開了殊死博斗。最后老人的命雖然保住了，但鯊魚們吃光了大馬林魚，老人拖回去的最終是一副光禿禿的骨架……

人生的道路是曲折坎坷的，遇到失敗是再平常不過的事，我們應(yīng)該時(shí)時(shí)刻刻擁有一顆堅(jiān)強(qiáng)、不屈服的心來面對(duì)失敗。成功就一定會(huì)向我們走來。

篇9

說話的細(xì)節(jié)，看起來不大起眼，無聲無息，實(shí)際上可以將觀眾肉眼看不見的人物的內(nèi)心活動(dòng)表現(xiàn)得細(xì)致入微。以《天堂的孩子》（又名《小鞋子》）、《天堂的顏色》、《巴倫》等影片大獲成功的伊朗年輕導(dǎo)演馬基德，馬吉迪，很善于通過細(xì)節(jié)揭示人物的內(nèi)心世界。影片《天堂的孩子》中，那一對(duì)可愛的兄妹家里很窮，哥哥阿里替妹妹修補(bǔ)好了她唯一的一雙鞋子，不料，在買土豆時(shí)被人當(dāng)做垃圾撿去了，他只好把自己那雙破舊的大號(hào)男鞋給妹妹穿，等妹妹放學(xué)后自己再穿上這雙鞋子，一路狂奔著去上學(xué)。不久，學(xué)校舉行長跑比賽，第三名的獎(jiǎng)品剛好就是一雙運(yùn)動(dòng)鞋。阿里堅(jiān)決要求參加比賽———他要得到獎(jiǎng)品送給妹妹。結(jié)果，他無意中得了第一名，他得不到那雙運(yùn)動(dòng)鞋了。當(dāng)阿里得了第一名之后，影片中出現(xiàn)了這樣一個(gè)細(xì)節(jié)：阿里將一雙滿是水泡的腫脹的腳浸到水池里，一群精靈般的金魚游過來，輕輕地?fù)嶂且浑p腳。這轉(zhuǎn)瞬即逝的無聲畫面告訴觀眾：阿里累了，累了的阿里心中感到失望，他多么需要得到安慰。這個(gè)細(xì)節(jié)飽含了編導(dǎo)的深情，同時(shí)，將阿里此刻的心境準(zhǔn)確地傳達(dá)了出來。

二、深化作品意蘊(yùn)的細(xì)節(jié)

細(xì)節(jié)往往具有象征性，著墨不多，意味無窮。大家熟悉的美國影片《阿甘正傳》的開頭，銀幕上緩緩飄飛、不斷旋轉(zhuǎn)的那一根羽毛，引起了觀眾的注意和沉思。它仿佛在狀寫阿甘的一生，又像在思索常人的命運(yùn)，那樣的飄忽不定，那樣的起落浮沉。前兩年，臺(tái)灣著名話劇導(dǎo)演賴聲川編導(dǎo)的《暗戀桃花源》，以它新穎的立意和后現(xiàn)代手法引起廣泛關(guān)注。這個(gè)戲采用將《暗戀》和《桃花源》兩個(gè)故事重疊和拼貼的技巧，充分表達(dá)了現(xiàn)代人生活中的無奈。其中，《桃花源》的打魚人老陶喝酒和吃餅的細(xì)節(jié)耐人尋味。面對(duì)一張面餅，老陶怎么也撕不開，用刀切也切不動(dòng)，氣得老陶一邊用腳踹，一邊大叫：“這是什么餅？這根本就不是餅。”老陶、他的妻子春花、第三者袁老板三人在一起喝酒。另外兩人拿起酒瓶就能把酒倒在自己的杯子里，唯獨(dú)老陶，同樣一瓶酒他卻怎么也打不開瓶蓋。這兩處細(xì)節(jié)，將老陶的無奈，舞臺(tái)上許多人物的無奈，乃至包括編、導(dǎo)、演在內(nèi)的所有現(xiàn)代人面對(duì)無法主宰的人類歷史、社會(huì)生活的無奈，表達(dá)得既巧妙含蓄又淋漓盡致。

三、渲染作品氛圍的細(xì)節(jié)

篇10

The Old Man and the Sea tells the frustrated experience that the old fisherman fishes in the course. The theme is deep， and it is a song of praise of heroism. “But man is not made for defeat. A man can be destroyed but not defeated” has been the classic saying and the old man also has been the most typical and the most representative of the Hemingway’s “tough guy”. When Hemingway talked about the successful factors later， the little boy was mentioned in the same breath with the old man.

This paper starts with the details and it is pided into two main parts to discuss the indispensable roles of the little boy in the novel. It is him who helps to perform the theme of “grace under pressure”: during 40 days， the old man with the little boy went to fish but without taking a fish， when his situation was getting worse step by step， the little boy’s leaving was the heavy pressure that achieved the extreme stern for certain. However， it was so “heavy pressure” that his manner was graceful when the old man faced afterwards defeat and his optimistic， generous life attitude was worthy tasting by people carefully; it is him who plays the role of leading， inspiring to the readers， and increasing the appeal of the work， enriching the content of the work: although the little boy appears only at the beginning and the ending in the novel， there is nothing in his inner state but the old man， so his attitude and emotions towards the old man affects the readers’ emotions for the old man quietly and gradually. And it is unavoidable that his inner feeling leads and impacts the readers’ emotions.

Key words: roles; the little boy; the old man; grace under pressure; The Old Man and the Sea

摘要

《老人與海》講述了老漁夫捕魚過程中的坎坷經(jīng)歷，主題深刻，是一部英雄主義的贊歌。“一個(gè)人不是生來就要被打敗的，你可以消滅他，但就是打不敗他。”已經(jīng)成為至理名言，老人也成為海明威式“硬漢子”的最典型、最完美的代表。當(dāng)海明威談到小說成功的因素時(shí)，曾頗為自得地將小男孩與老人相提并論。

本文擬從有關(guān)細(xì)節(jié)入手，分析討論小男孩在《老人與海》中所起的微妙且不可或缺的作用：是他幫助表現(xiàn)了“重壓下的優(yōu)雅風(fēng)度”這一主題：在老人84天沒有捕到魚，處境一步步惡化的厄運(yùn)中，小男孩的離去無疑讓老人的“重壓”達(dá)到了極度嚴(yán)峻的地步，然而正是由于如此的“重壓”，老人后來面對(duì)失敗時(shí)的態(tài)度才可謂“優(yōu)雅”，所表現(xiàn)的大度、樂觀的人生態(tài)度才值得人們仔細(xì)地品味；是他對(duì)讀者發(fā)揮著一定的牽引、打動(dòng)和啟發(fā)作用，從而增強(qiáng)了作品的感染力，豐富了作品的內(nèi)涵：孩子雖然只出現(xiàn)在小說的首尾兩處，但是孩子的內(nèi)心世界里別無他物，只有老人，他對(duì)老人的態(tài)度和感情潛移默化地左右著讀者對(duì)老人的感受，他的內(nèi)心情感無可避免地要牽動(dòng)影響著讀者的情緒。

關(guān)鍵詞：作用；小男孩；老人；重壓下的優(yōu)雅風(fēng)度；《老人與海》

1. Introduction

1.1 About the background

Before 1952， Hemingway has met the cold shoulder and attack in the sector which lasts for nearly a decade. To rescue the declining reputation， he publishes a new work， that is， The Old Man and the Sea. He believes firmly that it is the best work he can write in his lifetime. William Faulkner considers it as the most excellent work in this generation. Because of this work Hemingway wins the Pulitzer in 1952 and the Nobel Prize for literature in 1954 which push his writing career to the peak.

The Old Man and the Sea is so important to Hemingway and the American literature that there are lots of comments about it. But the research on the little boy， Mandolin， is minimal. It seems that his role is irrelevant and unimportant to the novel. In fact， the appearance of the little boy is the emergence of a coincidence according to his role in the work.

Hemingway published a piece of communication entitled On the Blue Water in the Esquire in April， 1936. The Old Man and the Sea is written on the basic of the material. In the middle of the novel， we can always feel the existence of the boy， because the old man thinks of the little boy for more than ten times during the three intense and arduous days. Moreover， when Hemingway talked about the factors of the novel’s success later， the little boy is mentioned in the same breath with the old man that he is lucky to have a good old man and a little boy， and some writers have forgotten these things recent. This shows Hemingway lays his artistic creativity and ingenuity on the little boy. So the little boy’s role in this novel is worthy being considered by critics and readers.

1.2 About the novel

The Old Man and the Sea earned its author the Pulitzer Prize for fiction in 1952， and was instrumental in winning him the Nobel Prize for literature two years later. It is a short novel about Santiago， an old Cuban fisherman who has gone for 84 days without taking a fish. Therefore， the boy， Mandolin， who used to sail with him， is forced to leave him and catch in another boat. The old man insists on fishing alone and at last， he hooks an eighteen-foot， giant marlin， the largest he has ever known. But the fish is very powerful and disobedient. It tows the old man and his boat but to see for 48 hours， with the old man hearing the whole weight of the fish through the line on his back. The old man， with little food and sleep， has to endure much pain and fights against his treacherous hand cramp. To his great excitement， on his third day at sea， he succeeds in drawing the weekend marlin to the surface and harpoons it. On his way home， he lashes marlin alongside his boat because it’s too big to be pulled into the boat. But， unfortunately， the come across sharks as much might and many weapons as he can summon， but only to find a giant skeleton of his marlin left after his desperate defense. At last， Santiago， having lost what he fought for， reached the shore and struggles to his shack. He falls into sound sleep， dreaming of Africa and the lions again. His struggle wins his much respect.

2. The roles of the boy in The Old Man and the Sea

2.1 Helping show the old man’s pressure

One of the brightest spots in The Old Man and the Sea is the perfect expression of Hemingway’s quality of grace under pressure， which is composed of two factors: pressure and grace. And pressure is the premise: only under the background of pressure will the hero have the elegant manners in the real significance. These two factors are mostly shown by the little boy. To show pressure， Hemingway describes the background of the story in four levels by picturing the details when the little boy leaves the old man. In this way， he stresses the heavy pressure at the very beginning of the novel， which lays a necessary premise and an atmosphere for the so-called grace. To show the grace， Hemingway describes several details when the old man gets together with the little boy under the pressure at the beginning and the end of the novel， drawing the image and targets in describing the image of the old man.

First is the heavy pressure. The first sentence of this novel accounts the difficulties that the old man faced: the old man has been futile for 84 days. This is of course， sympathetic to people， but it is not enough to arouse people’s sympathy only by a number and the pressure it stated is also ambiguous. What’s more， the manners later discussed is difficult to move the readers and the novel’s depth will be affected while it is difficult to make a clear sense through a few words and the old man’s alone appearing in the novel. So Hemingway gives a considerable description of the little boy in order to set off a gradual deterioration situation of the old man. In this increasing pressure， the old man’s failure is particular tragic， and the manner of the old man to the failure is elegant.

At the beginning， the old man and the little boy sailed together every day， but they do not catch any fish for more than 40 days， which is quite “unlucky”，[1] this is the first layer of pressure. At this time， the boy is forced to leave the old man and catches on another boat followed his parents’ order， thus the old man is left alone in his boat which is a symbol of his failure. Obviously， failure and loneliness is the second level of pressure. The boy began to learn to fish following the old man when he is only five. The old man’s wife passed away several years ago， so the child is actual his only companion in his lonely life， and the departure of the little boy at this unfortunate moment is undoutable a heavy blow to him. Previously， it has said that the little boy does not appear in the material on which the story based. The little boy is imaged by Hemingway as the sole partner and assistant of the old man， and then takes him away from the old man mercilessly， which is the so-called “giving it before taking it”. In this way， the old man’s miserable situation becomes even worse. Moreover， after the boy’s leaving， the old man does not catch any fish for 44 days which makes bear an almost desperate feeling. This is the third level of pressure. Although the first and third level of the pressure having nothing to do with the little boy， the boy’s leaving pides the 84 days into three levels to increase the pressure layer by layer， thereby creating a sense of more and more， dignified.

On the other hand， “the boy has gone at their order in another boat which caught three good fish the first week” [2]， after his leaving， so it forms a sharp contrast between the old man’s deteriorate fate and the little boy’s. As we all known， the fishermen all believe in the luck very much. In the novel， Hemingway deliberately uses the word “salao” and stresses it is the superior degree of the “unlucky”. And we can see that the old man also believes firmly in fortune from the words he usually uses such as “l(fā)ucky”， “gamble”， “take your chance”， [3] and the detail that he buys lottery tickets to bet on his fortune. Thus， it is common to others if they catch fish with a sudden transit， but the White House meets the little boy who has followed the old man for 40 days “without taking a fish”. [4]It is more certain that the old man is being in “unlucky” [5] according to the fishermen’s opinion. Beyond any doubt， it is a heavy blow to the old man and almost puts him into despair. Although here Hemingway can keep calm a distance from his own feelings when he describes the hero of the novel， it is not difficult for the readers understand to the old man’s situation—full of failure， loneliness， embarrassment， and nearly in despair only because he is able to describes accurately the details which can arose the readers’ feeling in an appropriate order. It is this pressure that force the old man to “go far to fish”，[6] therefore having the following experience.

Hemingway’s story has once been accused that the scenes are too narrow. But not all the literary works must pursue a grand scene. Here Hemingway put a lonely old man into a confined environment in order to match the hero’s real situation. What’s more， although the scene is limited， it can also show the author’s originality if he may arrange the content well in this limited scene. It is thus method that makes the beginning of the novel more wonderful. Here Hemingway uses a unique scent way to sympathy to his hero. We can fell his sympathy for the people with deserves sympathy. This is Hemingway’s style.

2.2 Offering a method to perform the old man’s grace

Pressure has been stated， but how the old man’s grace is performed vividly in the novel， it is not exact to say that the grace is only lies in the brave and tenacity in his fight with fish. Grace is not a simple or notional thing but always reflected in people’s inner and external behaviors especially in facing with difficulties， while the boy in this novel offers an important way to represent the old man’s grace.

Although， the old man lives under a heavy pressure， he always has a natural and unaffected attitude. The child has learnt fishing skills following the old man when he was 5 years old. And now the old man is at low ebb in his life and is trapped by bad luck， but the child leaves him and gets a great success in another boat. If this happens on others， even they do not hate the child， there will be an unbalance in their heart. But the old man shows his broad mind and understanding. He says to the boy: “I know you leave me not because you do not believe me.”[7] When the little boy leaves him at his parents’ order and catches another boat， the old man says: “I know， it is quite normal.”[8] Having no result after three days hard working but when he is told that the boy has a harvest every day in these days， however， he does not feel any unpleasant at all. Instead， he feels happy for him and remarks “very good” [9] immediately. In addition， although the old man is isolate and unlucky， he is not in a spirit of sensitive to the concern of others. By contrary， he accepts the boy’s care calmly. He does not take it for granted that students ought to care teachers， but views the child as his peer and partner. The little boy also worries about if the old man has become over-sensitive in such an embarrassed situation. Therefore， he asks tentatively whether the old man is willing to drink a cup of beer with him or not. And the old man agreed: “why not?” “Between fishermen” [10] While they are drinking， many fishermen laugh at the old man， but he does not become angry. After drinking， the old man says to the boy: “you bought me a beer.” “You are already a man.”[11] These details show that the old man is reasonable， amiable and kind-hearted as well as has a natural and healthy life attitude. His understanding for life has reached a simple and natural realm. This is the grace.

Secondly， the old man has another minute side in his character. Actually， the old man is the model of Hemingway’s “tough guy”， but it does not mean that he is a stubborn fool or dumb cow. Let us see how he wakes the child up in the morning. “He took told of one foot gently and held it until the boy woke and turned and looked at him”[12]， but his warmth does not affect his image of “tough guy” at all. On the contrary， the background of standing great pressure in spirit just makes the old man’s grace keeping in the balance of hard and soft.

The old man has a confident and optimistic life attitude in the novel. In fact， the old man would like to let the boy return to him very much in his mind. But when the boy asks to return to the boat by himself， the old man rejects: “no you are with a lucky boat， stay with them.” “If you were my boy. I would take you out and gamble. But you are your father’s and your mother’s and you are in a lucky boat.”[13] Because the boy’s leaving is falling his parents’ order， the old man does not want to put him in a embarrass situation and let the boy get a little bad luck from him which reflects his high spirit of responsibility towards the child. When the child says it again after the old man’s return， he rejects him out of the same consideration. As the child’s insisting， the old man accepts him calmly and then makes a plan to their following fish. However， the change of the old man’s attitude is not conflicting seeing from the surface， the old man still remains nothing at last， and the whole cycle is from failure to failure. But it is different between the beginning and the end after three days’ hardship and thought. He has a better understanding to the sea， the human， the fish and himself. Therefore， he has enough confidence to accept the child’s return and， feels that it is necessary to create a new future together with the boy. The old man’s acceptance reflects that Hemingway’s art and philosophy has always tended to return to the society， especially from 1937 on. This is the perfect integration of the personality and social.

轉(zhuǎn)貼于 2.3 The little boy is the best complement to the old man’s character

As for Hemingway’s “tough guy”， some critics pointed out that as the heroic manner is too conspicuous， which determined their actions is quite obvious and sometimes it caused the figures thinking abstract and isolated. However， in The Old Man and the Sea， the image of the old man is entire because the author arranges a little boy purposely and describes him in a great deal of details. Thus， the grace of the old man becomes more realistic and vivid， which of course should be attributed to the existence of the little boy.

In addition to describe the old man through the boy’s and his eyes， Hemingway also draws a directive and detailed description of the boy’s character. In this way， it reveals the old man’s character charm from another standpoint which shows a optimistic trend in the end of the novel. The boy began to learn to fish at the age of 5， which is the age that the children begins to have memories about things. Therefore， in the process of the boy’s character’s shaping， the old man inevitably occupied an important position. Hemingway’s description about the boy’s personality is actually a complement to perform the old man’s character.

Although the boy is young， he is not boyish. He learns the fishing skills， also inherits the spirit of the self-esteem and self-reliant from the old man. After several years living with the old man， he has understood the hardship of life and the duty of a man. Here there is a detail: the boy is very little， at the age of sleepy， after the old man wakes him up， he is sleepy when he goes out of the door. In such a young age he has to face the reality of the life， which obviously causes people’s sympathy in their hearts. But the boy does not mind it， his tender shoulder has already accustomed to the lives’ responsibility and he regards it is what a man must do. The words are so sonorous and forceful to driver a sound. Its auditor must have followers. The pupil is like this， let alone the master! Here the boy’s personality to set off the old man’s. it provides an indispensable preclude to draw the perfect image of the “tough guy”. As a result， the heroic mettle of the old man appears logically.

At the end of The Old Man and the Sea， Hemingway expresses his optimistic tendency to life by the symbolic meaning of the boy’s return at last. The little boy decides to return to the old man even ignoring his father’s authority and the fishermen’s superstition about the luck:

“The hell with luck.” the boy said. “

I will bring the luck with me.”

What will your family say?”[14]

“I don’t care. I caught two yesterday. But we will fish together now for I still have much to learn.”[15]

Before the boy’s return， it is just a isolated struggle of the old man. Therefore， no matter how it is brave， it is not enough to be a source of optimism. Hemingway has convinced for several decades that: life is a lonely struggle and there is nothing meaningful behind it. So some critics point out: the figures written by Hemingway all go to the old way---exploration， loneliness， the result is a dead end. But this pattern changes in The Old Man and the Sea; the old man not only has a follow but also can find the support of the boy. And the return of the boy is his new starting---the boy becomes more and more mature in the fluencies of the old man’s heroic spirit: In this sense， The Old Man and the Sea is oriented to the future. At the end of the novel， Hemingway deals with the boy， which shows that: he is returning to his starting point through a new path.

Carlos. Baker points out that: in a certain sense， the child and the old man symbolized the youth and the elderly of the human. In the old man’s subconscious， the child is another stage of his life. Because it is impossible for a person to dream two stages of himself in one dream， so though the child stays with him all day， he never dreams the boy. Therefore the child’s return means that human being’s intelligence and mental strength will be passed on from generation to generation， which is the novel’s optimism lies in， also is Hemingway’s lifelong pursuit and the highest expression of the “tough guy’s spirit”. It is the reason why the boy can not be taken place by the women having the same age of the old man， like Catharine (the heroine of Farewell to Arms) or Albright (the heroine of The Sun Also Rises). Because the same aged women and men are in the parallel or antagonistic concept， and can not express the continual optimism， which is an important distinction between The Old Man and the Sea and the other works of Hemingway’s. The boy’s return alights the novel and enriches the content of the work， which inspires readers to make a further exploration on the meaning and tendency of the work.

There are many different views about whether there are symbols or not in this novel. Hemingway once wrote to his friend， Bernard Bryson: there is not any symbol， the sea is the sea， the old man is the old man， the child is the child， and fish is fish， what people says about symbolism is nonsense. In fact， the reason for saying like this is that he wants to oppose that kind of rhetoric， unfounded and so—called symbolism. Objectively speaking， symbolism is often stressed the symbolic nature of the whole work， however， Hemingway is too outright to be the symbolism. But this does not mean that there is no symbolism and symbolic significance in his works. The symbolism， as a whole and the symbolic method as an rhetoric method are two different concepts. Hemingway acknowledges later in public that there are symbolic methods in his works， he explains that he tries to portray a real old man， a real child， a real sea， a real fish and real sharks. If he can picture them very well and realistically， they will mean many things. Here what he says that mean many things is actually a symbolic meaning， which is based on the profound understanding of the novel. Of course， we can not view a realistic novel as a symbolic one just because it applies some symbolic methods; meanwhile， we can not deny there are symbolisms in a word just because it is a realistic novel.

3. The roles in moving and inspiring readers

In this novel， the second important role of the boy is that he leads and inspires the readers. Hemingway’s direct describing of the little boy does not only reveal the boy’s simple and complex emotion towards the old man， but also portray the boy’s personality in order to enhance the effective of the work and rich the content of the work.

3.1 The little boy’s emotion

In The Old Man and the Sea， in a certain extent， especially at the beginning and the end of the novel， the boy is much close to the readers than the old man. So the boy’s feeling is inevitable to lead and impact the readers` emotion. There is nothing in the boy’s inner state but the old man. His attitude and emotions towards the old man affects the readers` emotion for the old man quietly and gradually. So Carlos Baker once said that the boy has a role to make people pay more sympathy to the old man. Because at the beginning and the end of the novel， we see the old man in the boy’s eyes which fills with respect and sympathy. But in fact， the boy’s respect and sympathy towards the old man is not static in his inner state ode mind. His emotion goes along a deeper and deeper trajectory which is from sympathy to heartache; and such kind of feeling becomes stronger and stronger， at last rising to the peak and bursting out， “he started to cry” [16]. The fluctuations of the boy’s inner world affect the readers’ emotion unknowingly. The emotional changes of the boy can be pided into 3stages.

3.2 The little boy’s sympathy in the static stage

The boy’s sympathy for the old man is very simple and plain: “the old man had taught the boy to fish and the boy loved him” [17]. The boy remains concerned about the old man after getting lucky in another boat. He can not feel happy even when he gets achieves quite good grades because of the old man’s hardship， which reflects the boy’s sincere emotion for the old man. It made the boy sad to see the old man come in each day with his skiff empty. He wants to return to the old man. After the old man’s several rejections， he still wants to help the old man to do something. It is unbootable that the boy’s deep and simple emotion has branded deeply in the mind of the readers by the first impression.

3.3 The little boy’s respect and worry in the subtle， fluctuating stage

The little boy shows his respect for the old man all the time. He memorized the past experience of lucky and unlucky together with the old man， he regards the old man as the best fisherman， an unusual fisherman. The boy’s respect to the old man does not reduce because of the old man’s frustration. It is the boy’s encouragement in spirit that support the old man to go on struggle impregnably. Later the old man realizes that if it is not the child， he has already finished.

Although the boy hopes that the old man can create another brilliant prospect ion， he worries about the old man’s psychological condition as well. He is afraid of that the old man is so old and feeble that he can’t bear the difficulties alone， sometimes he also reveals his worries:“I’ll try to get him to work far out. Then if you hook something truly big we can come to you aid.”[18]These common words seem random but is a good wish of good luck which leads the readers attention to the uncertain sea.

3.4 The little boy’s affirmation in the outbreak stage

The old man returns from the sea exhausted and ragged both in physically and mentally， enduring all kinds of hardships and difficulties in three days， he catches a big fish which has a special meaning for him， unfortunately， the big fish is gnawed by sharks and left a pair of huge skeleton. The victory gains nothing， the results is disappointed. But the boy’s eyes do not stay on the pale skeleton only; he perceives the success that the old man ever achieved from the failure:

“They beat me， Manolin，”he said.

“They truly beat me.”

“He didn’t beat you. Not the fish.”[19]

What the boy said is a fact. That is the boy’s affirmation in his deep mind which is also the old man’s wish of proving he is unusual. But the boy’s attitude to the old man’s return is not only positive. After all， the old man returns in empty-hand， and badly bruised， so when the boy sees the old man’s hands， he can not help tearing full of the face. But what he feels heartache is not only the blooding hands， but what even more distressing is that the old man’s fish which symbolizes the victory has been gnawed by sharks which make the old man feels more disappointed after 84 days failure. The emotion of the boy breaks out at this time because of the greatest pain in his heart. He starts to cry and does not care how others will look at him， and his crying hits readers’ hearts even weeps still after they finished their reading.

4. Conclusion

From the above discussion， we can see that the little boy is essential to the novel in two aspects: in helping to show the old man’s so-called “grace under pressure” and to move and inspire the readers. It is not exaggerated to say that the work could not be the work we see now without the child. The image of the child is clear and discernible in readers’ mind， the more description of the boy， the stronger feeling we feel of the old man. The boy is just like the snow at the top of the mountain. The mountain becomes deeper and more valiant because of the existence of the snow. The old man is like the mountain， it is unnecessary for him to talk too much， because the readers can feel him when they read the little boy. Notes

[1] ---- [19] The Old Man and the Sea， Simon & Schuster Inc. 1995

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