【文章內容簡介】 艱難，而且充滿坎坷，但只要自己勇敢頑強地以一顆自信的心去迎接挑戰(zhàn)，將永遠是一個真正的勝利者！人生就像一條小船，旅途不會永遠風平浪靜，只要我們能戰(zhàn)勝巨大的海浪，就一定能駛向自己心目中的終點。，但不可能被打敗，”已經記不得是第幾次看這篇小說了，即使每看一次都有不少的收獲，但我依然情有獨鐘的喜歡著這句話。每每看到它，我總覺得它會給我力量。然后，越來越堅強?！独先伺c海》講述的是一個“可憐”的老頭出海捕魚的故事，他在那次出海碰到了一條大魚，那條魚比他的船都大很多。他和它戰(zhàn)斗著，也是和自己戰(zhàn)斗著，兩天兩夜的時間，他殺死了它。而后回航，他又幾次遇上鯊魚，他堅持著一次次和他們戰(zhàn)斗。等回到陸地的時候，他捆綁在船上的大魚只剩下一具骨架。他累了，他睡了，那么安詳，陽光都不忍打擾他。他回去的時候是那個孩子首先見到他的，他每天總是會準時的到老人住的地方。老人在出海的途中與大魚抗爭的時候也總是會提到的那個孩子，他想：老人出海該經歷了多少傷痛啊?他不忍打擾他，轉身出去為老人準備咖啡，眼淚卻一次流在他的臉上。這樣該是為那堅強感動的淚吧。我想：假如那個孩子是我，我也會流淚的?？粗切﹫詮姷糜啦谎詳〉娜?，我總是會莫名敬佩。人在某些時候總是會孤獨的，即使再剛強的漢子也會如此。就算如老人說的那樣：人在大海是不會孤獨的。但他在信念的抗爭過程中還是想到孩子，他想：假如孩子在我身邊那該多好啊。有人并肩作戰(zhàn)，總是好的。生活的擔，再厲害再堅強的人也不可能一肩挑起。個人以為人總是理性與感性并存的，應當時刻知道自己該做什么該要什么。老人就很清楚，他是一個硬漢，他說的他不可以能被打敗。就像他的那些自言自語，充滿感性的堅定剛強。雖然他最后還是沒有勝利，外在的勢力強大注定了他要被毀滅，但他沒有失敗。孩子的淚以及那些羨慕的眼光可以證明：老人是個失敗的英雄。出海八十幾天，帶回了一具魚的骨架以及一身傷痛。生活應該是一件很痛苦的事情，應該說人活著就是為了承受痛苦，至少我是這么認為的，人在體驗痛苦后才能得到征服痛苦后的那種喜悅。我想：我應該是喜歡痛苦的。記得第一次看這篇小說是在初中的時候，班上不知從哪里冒出了這樣一本書，而剛好又傳到了我的手里，我拿著它一直到看完才舍得傳出去。從那以后，我的課桌上就有了這篇文章開頭的那句話，自以為自己已經就是不可打敗的英雄。“ 為了自己的幸福，努力奮斗。即使有多少的磨難，不要放棄。你可以被打垮，但你不能輕易言棄。你可以最后沒有勝利，但你必須努力的奮斗在其中的每一個過程。”這是我去年的某個時候寫在筆記本上的一句話，也是在看了這篇小說后得到的。自以為很好。老人有時候會做夢，夢中總是會有一頭或者幾頭獅子。獅子的勇，獅子的力量，老人的執(zhí)著，老人的剛強。以至于我在看這篇文章時候總是以為老人就該是那頭雄壯的獅子，鐵錚錚的硬骨頭。孩子并不像個孩子，他就像個小大人一樣圍繞在老人的周圍。老人愛他，記得其中有一句這樣寫過老人握著孩子的腳直到他醒來。原來，硬漢子也會如此溫柔。The Old Man and the Sea served to reinvigorate Hemingway39。s literary reputation and prompted a reexamination of his entire body of novel was initially received with much popularity。it restored many readers39。 confidence in Hemingway39。s capability as an publisher, Scribner39。s, on an early dust jacket, called the novel a “new classic,” and many critics favorably pared it with such works as William Faulkner39。s “The Bear” and Herman Melville39。s such acclaim, however, a school of critics emerged that interpreted the novel as a disappointing minor example, critic Philip Young provided an admiring review in 1952, just following The Old Man and the Sea39。s publication, in which he stated that it was the book “in which Hemingway said the finest single thing he ever had to say as well as he could ever hope to say it.” However, in 1966, Young claimed that the “failed novel” too often “went way out.” These selfcontradictory views show that critical reaction ranged from adoration of the book39。s mythical, pseudoreligious intonations to flippant dismissal as pure latter is founded in the notion that Hemingway, once a devoted student of realism, failed in his depiction of Santiago as a supernatural, clairvoyant as a Spaniard A 2009 study, “39。Eyes the Same Color of the Sea39。: Santiago39。s Expatriation from Spain and Ethnic Otherness in Hemingway39。s The Old Man and the Sea,”[12] focuses on the old man39。s national the baseball references, the article points out that Santiago was at least 22 years old when he moved from Spain to Cuba.“Born in Spain?s Canary Islands, Santiago moved to Cuba as a young man。this circumstance has a significant impact on his social condition.”[13] Santiago was old enough to have a Spanish identity when he immigrated, and the article examined how being a foreigner(and from a country that colonized Cuba)would influence his life on the Santiago was too poor to move back to Spain—many Spaniards moved to Cuba and then back to Spain at that time—he adopted Cuban culture like religious ceremonies, Cuban Spanish, and fishing in skiffs in order to acculturate in the new dangerous hunt for the marlin was an effort to earn a place in the new munity, something which had eluded as Theme Joseph Waldmeir39。s essay “Confiteor Hominem: Ernest Hemingway39。s Religion of Man” is a favorable critical reading of the novel—and one which has defined analytical considerations the most memorable claim therein is Waldmeir39。s answer to the question—What is the book39。s message? “The answer assumes a third level on which The Old Man and the Sea must be read—as a sort of allegori