赏析:海明威《老人与海》 第1篇

海明威 老人与海 英文版

Ernest Miller Hemingway (July 21, 1899 – July 2, 1961) was an American author and journalist.

His distinctive writing style, characterized by economy and understatement, influenced 20th-century fiction, as did his life of adventure and public image. He produced most of his work between the mid-1920s and the mid-1950s. He won the Nobel Prize in Literature in 1954. Hemingway_s fiction was successful because the characters he presented exhibited authenticity that resonated with his audience. Many of his works are classics of American literature. He published seven novels, six short story collections, and two non-fiction works during his lifetime; a further three novels, four collections of short stories, and three non-fiction works were published posthumously.

Hemingway was born and raised in Oak Park, Illinois. After leaving high school he worked for a few months as a reporter for The Kansas City Star, before leaving for the Italian front to become an ambulance driver during World War I, which became the basis for his novel A Farewell to Arms. He was seriously wounded and returned home within the year. In 1922 Hemingway married Hadley Richardson, the first of his four wives, and the couple moved to Paris, where he worked as a foreign correspondent. During his time there he met and was influenced by modernist writers and artists of the 1920s expatriate community known as the _Lost Generation_. His first novel, The Sun Also Rises, was published in 1926.

After divorcing Hadley Richardson in 1927 Hemingway married Pauline Pfeiffer; they divorced following Hemingway_s return from covering the Spanish Civil War, after which he wrote For Whom the Bell Tolls. Martha Gellhorn became his third wife in 1940, but he left her for Mary Welsh after World War II, during which he was present at D-Day and the liberation of Paris.

Shortly after the publication of The Old Man and the Sea in 1952 Hemingway went on safari to Africa, where he was almost killed in a plane crash that left him in pain or ill-health for much of the rest of his life. Hemingway had permanent residences in Key West, Florida, and Cuba during the 1930s and _40s, but in 1959 he moved from Cuba to Ketchum, Idaho, where he committed suicide in the summer of 1961.

_______________________________________________________________________________

The Old Man and the Sea

+++++++ The Old Man and the Sea is a story by Ernest Hemingway, written in Cuba in 1951 and published in 1952. It was the last major work of fiction to be produced by Hemingway and published in his lifetime. One of his most famous works, it centers upon Santiago, an aging Cuban fisherman who struggles with a giant marlin far out in the Gulf Stream.[1

Plot summary

The Old Man and the Sea tells an epic battle between an old, experienced fisherman and a giant marlin. It opens by explaining that the fisherman, who is named Santiago, has gone 84 days without catching any fish at all. He is so unlucky that his young apprentice, Manolin, has been forbidden by his parents to sail with the old man and been ordered to fish with more successful fishermen. Still dedicated to the old man, however, the boy visits Santiago_s shack each night, hauling back his fishing gear, getting him food and discussing American baseball and his favorite

player Joe DiMaggio. Santiago tells Manolin that on the next day, he will venture far out into the Gulf to fish, confident that his unlucky streak is near its end.

Thus on the eighty-fifth day, Santiago sets out alone, taking his skiff far onto the Gulf. He sets his lines and, by noon of the first day, a big fish that he is sure is a marlin takes his bait. Unable to pull in the great marlin, Santiago instead finds the fish pulling his skiff. Two days and two nights pass in this manner, during which the old man bears the tension of the line with his body. Though he is wounded by the struggle and in pain, Santiago expresses a compassionate appreciation for his adversary, often referring to him as a brother. He also determines that because of the fish_s great dignity, no one will be worthy of eating the marlin.

On the third day of the ordeal, the fish begins to circle the skiff, indicating his tiredness to the old man. Santiago, now completely worn out and almost in delirium, uses all the strength he has left in him to pull the fish onto its side and stab the marlin with a harpoon, ending the long battle between the old man and the tenacious fish. Santiago straps the marlin to the side of his skiff and heads home, thinking about the high price the fish will bring him at the market and how many people he will feed.

While Santiago continues his journey back to the shore, sharks are attracted to the trail of blood left by the marlin in the water. The first, a great mako shark, Santiago kills with his harpoon, losing that weapon in the process. He makes a new harpoon by strapping his knife to the end of an oar to help ward off the next line of sharks; in total, five sharks are slain and many others are driven away. But the sharks keep coming, and by nightfall the sharks have almost devoured the marlin_s entire carcass, leaving a skeleton consisting mostly of its backbone, its tail and its head. Finally reaching the shore before dawn on the next day, Santiago struggles on the way to his shack, carrying the heavy mast on his shoulder. Once home, he slumps onto his bed and falls into a deep sleep.

A group of fishermen gather the next day around the boat where the fish_s skeleton is still attached. One of the fishermen measures it to be 18 feet ( m) from nose to tail. Tourists at the nearby café mistakenly take it for a shark. Manolin, worried during the old man_s endeavor, cries upon finding him safe asleep. The boy brings him newspapers and coffee. When the old man wakes, they promise to fish together once again. Upon his return to sleep, Santiago dreams of his youth—

of lions on an African beach.

[edit] Background and publication

Hemingway in in 1951, and published in 1952, The Old Man and the Sea is the final work published during Hemingway_s lifetime. The book, dedicated to Hemingway_s literary editor Maxwell Perkins,[2] was featured in Life Magazine on September 1, 1952, and five million copies of the magazine were sold in two days.[3] The Old Man and the Sea also became a Book-of-the Month selection, and made Hemingway a celebrity.[4] Published in book form on 1 September 1952, the first edition print run was 50,000 copies.[5] The novella received the Pulitzer Prize in May, 1952,[6] and was specifically cited when he was awarded the Nobel Prize in Literature in 1954.[7][8] The success of The Old Man and the Sea made Hemingway an international

celebrity.[4] The Old Man and the Sea is taught at schools around the world and continues to earn foreign royalties.[9]

“ No good book has ever been written that has in it symbols arrived at beforehand and stuck in. ... I tried to make a real old man, a real boy, a real sea and a real fish and real sharks. But if I made them good and true enough they would mean many things. ”

—Ernest Hemingway in 1954[10]

Hemingway wanted to use the story of the old man, Santiago, to show the honor in struggle and to draw biblical parallels to life in his modern world. Possibly based on the character of Gregorio Fuentes, Hemingway had initially planned to use Santiago_s story, which became The Old Man and the Sea, as part of an intimacy between mother and son and also the fact of relationships that cover most of the book relate to the Bible, which he referred to as _The Sea Book_. (He also referred to the Bible as the _Sea of Knowledge_ and other such things.) Some aspects of it did appear in the posthumously published Islands in the Stream. Positive feedback he received for On the Blue Water (Esquire, April 1936) led him to rewrite it as an independent work. The book is generally classified as a novella because it has no chapters or parts and is slightly longer than a short story.

[edit] Literary significance and criticismThe Old Man and the Sea served to reinvigorate Hemingway_s literary reputation and prompted a reexamination of his entire body of work. The novella was initially received with much popularity; it restored many readers_ confidence in Hemingway_s capability as an author. Its publisher, Scribner_s, on an early dust jacket, called the novella a _new classic,_ and many critics favorably compared it with such works as William Faulkner_s _The Bear_ and Herman Melville_s Moby-Dick.

Following such acclaim, however, a school of critics emerged that interpreted the novella as a disappointing minor work. For example, critic Philip Young provided an admiring review in 1952, just following The Old Man and the Sea_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 self-contradictory views show that critical reaction ranged from adoration of the book_s mythical, pseudo-religious intonations to flippant dismissal as pure fakery. The latter is founded in the notion that Hemingway, once a devoted student of realism, failed in his depiction of Santiago as a supernatural, clairvoyant impossibility.

Joseph Waldmeir_s essay entitled _Confiteor Hominem: Ernest Hemingway_s Religion of Man_ is one of the most famed favorable critical readings of the novella—and one which has defined

analytical considerations since. Perhaps the most memorable claim therein is Waldmeir_s answer to the question—What is the book_s message?

_The answer assumes a third level on which The Old Man and the Sea must be read—as a sort of

allegorical commentary on all his previous work, by means of which it may be established that the

religious overtones of The Old Man and the Sea are not peculiar to that book among Hemingway_s works, and that Hemingway has finally taken the decisive step in elevating what might be called his philosophy of Manhood to the level of a religion._[11]

The 2006 cover for the Charles Scribner_s Sons edition of the novellaWaldmeir was one of the most prominent critics to wholly consider the function of the novella_s Christian imagery, made most evident through Santiago_s blatant reference to the crucifixion following his sighting of the sharks that reads:

_‘Ay,′ he said aloud. There is no translation for this word and perhaps it is just a noise such as a man might make, involuntarily, feeling the nail go through his hands and into the wood._[12] Supplemented with other instances of similar symbolism, Waldmeir_s criticism stands as one of the most durable, positive treatments of the novella.

On the other hand, one of the most outspoken critics of The Old Man and the Sea is Robert P. Weeks. His 1962 piece _Fakery in The Old Man and the Sea_ presents his claim that the novella is a weak and unexpected divergence from the typical, realistic Hemingway (referring to the rest of Hemingway_s body of work as _earlier glories_).[13] In juxtaposing this novella against Hemingway_s previous works, Weeks contends:

_The difference, however, in the effectiveness with which Hemingway employs this characteristic device in his best work and in The Old Man and the Sea is illuminating. The work of fiction in which Hemingway devoted the most attention to natural objects, The Old Man and the Sea, is pieced out with an extraordinary quantity of fakery, extraordinary because one would expect to find no inexactness, no romanticizing of natural objects in a writer who loathed . Hudson, could not read Thoreau, deplored Melville_s rhetoric in Moby Dick, and who was himself criticized by other writers, notably Faulkner, for his devotion to the facts and his unwillingness to _invent._[13]

Some critics suggest _The Old Man and the Sea,_ was Hemingway_s reaction towards the criticism of his most recent work, Across the River and into the Trees.[14]The negative reviews for Across the River and into the Trees distressed him, but were likely a catalyst to his writing of The Old Man and the Sea.

三、 蕴含深层内涵

1、 通过作品中展现的老人的精神与命运，赞美和讴歌了不服输的硬汉子精神。海明威巧妙

的把这一主题镶嵌在故事情节中，使他想表达的主题升华到了更高的象征地位，获得了永恒

的生命，读者的审美感同时也得到了升华。

2、 解读《老人与海》，体会海明威人与自然的观念，我们得到的启示是:自然法则是人类

力量不可抗拒的，人类可以利用自然、改造自然，但人类不能征服自然。

赏析:海明威《老人与海》 第2篇

其实最近书读得很少，所以读学生的摘抄时我都像是“久旱逢甘霖”一样。细细回想下，好象也读了几本，先放在这里应应景吧。

因为教学的需要，我这次细读了海明威的《老人与海》，以前觉得就是个运气不好的老人家费尽力气抓了条鱼还被鲨鱼抢走了的悲惨故事，这次读竟然有了很不一样的认识，我突然觉得自己深刻了很多，原来之前那么多年的时间我都没能看明白这部销量多少与篇幅长短完全成反比的诺贝尔小说。

“桑地亚哥，是一位渔夫。他连续84天一无所获，决定独自前往远海钓鱼，终于钓到了一条一千五百磅的大马林鱼，在回程中多次遭遇鲨鱼袭击，他回到家时猎物只剩了一条光秃秃的骨架。在捕捞这条大鱼和跟鲨鱼搏斗的三昼夜里，老人以非凡的勇气，惊人的毅力，受着难以忍受的孤独、饥饿、疲劳和伤痛，但我们从中没有看见一滴失败者的眼泪，却分明看到强者失败时高傲的微笑。他是一个硬汉，是一个虽败犹荣的英雄。”

上一段是语文练习中的一道填空题，没有读过原著的人在答这道题时可能得到的只是个概念化的印象，但是真正认真读过的人会在心里掀起一股股情感的狂潮。84天一无所获，对于一位年老贫困的渔民来说意味着什么，你可以走进去看看他窝棚的摆设，寻寻一下他食物的来源，听听旁边年轻力壮的渔民对他衰老无用的嘲笑之语，也许海明威的笔淡化了这些煽情的渲染，但是别忘了，你所见到的只是冰山露出水面部分的八分之一，所以你再回过头来听主人公和你谈棒球，和小孩谈晚餐，感觉会大不同。

难以忍受的孤独、饥饿、疲劳、伤痛，到底是怎样一个难以忍受法？

孤独，一个人划着一条小船缓缓地驶向远海，被大鱼拖着在漫无方向、复杂的洋流中四处飘荡，那种令人恐慌的迷失感，就像一个人在黑夜森林中寻找出路一样，老人只能和自己说话，和鱼说话，和大海说话；饥饿，这次出海前的84天老人基本没吃过饱饭，到了海上以后，淡水从何而来？食物从何而来？老人自己想办法解决，吃其他钓索钓上来的鱼，没法加工，只能生着吃，老人只好想着“下次一定要带点盐”，一条鱼还不能一次吃个够饱，因为你得为下顿做些安排，所以把鱼肉切成几块，分着来吃，饿得不行了多吃一块都觉得于心不忍，鱼肉放在船板上暴晒自然不复新鲜，但是还是得咽下去，运气不好没有钓到小鱼，就只好勾起海藻，抖落上面寄生的磷虾来嚼，听来很惬意，但是实际上老人就以这几只小虾来捱过长日了；何况老人还要时刻打起精神与一千五百多磅的大鱼斗智斗勇。钓过鱼的人都知道，对钓索的控制很讲究技巧，紧了鱼会察觉到危险，狗急跳墙，挣断钓索，松了又有可能使钓钩脱落，所以要时刻调整松紧程度。老人晚上困倦时都不敢睡觉，白天太阳毒辣辣地晒着也不能躲，坚持不住眯一下眼都得先用绳子勒住自己手掌上的创口，连续三天没有休息好，疲劳可想而知。

还有老人在与大鱼、鲨鱼搏斗过程中留下了缕缕伤痕，再加上老人的年纪，这时我们再回过头去看那一道题，绝对不再是几个简单的词汇。经常如此漫长的艰辛终于钓到了大鱼，老人心中的欣喜可想而知，可是在战利品被鲨鱼掠夺之后，老人心中的失落也可以想象，可是老人并没有颓丧，他在做梦时依旧梦见了狮子。

读毕慨然。这绝对是一本值得反复咀嚼的名著。就记下我这些最幼稚也是最原始的感慨吧。

赏析:海明威《老人与海》 第3篇

        《老人与海》这本小说是根据真人真事写成的，第一次世界大战结束后，海明威移居古巴，认识了老渔民格雷戈里奥·富恩特斯。1930年，海明威乘的船在暴风雨中沉没，富恩特斯搭救了海明威，从此，海明威与富恩特斯结下了深厚的友谊，并经常一起出海捕鱼。1936年，富恩特斯出海很远捕到了一条大鱼，但由于这条鱼太大，在海上拖了很长时间，结果在归程中被鲨鱼袭击，回来时只剩下了一副骨架。

        1936年4月，海明威在《乡绅》杂志上发表了一篇名为“碧水之上：海湾来信”的散文，其中一段记叙了一位老人独自驾着小船出海捕鱼，捉到一条巨大的大马林鱼，但鱼的大部分被鲨鱼吃掉的故事。这件事给了海明威很深的触动，1952年，海明威发表了中篇小说《老人与海》，刊载《老人与海》的那一期《生活》杂志在48小时内售出了五百三十多万册，作品取得了巨大的成功，受到了空前的欢迎。

        一、《老人与海》主题思想

        小说歌颂了老渔夫不畏艰险努力奋斗的精神，人不能满足于现状，而应积极向上，做任何事都要坚持不懈，遇到困难要迎难而上，绝对不能半途而废，只有这样，才能获得成功和胜利。虽然老渔夫没有把完整的马林鱼拖回海岸，在别人眼里是失败的，但实际上他是成功的。俗语道：不以成败论英雄。他那坚强的意志和勇敢的精神不比英雄的行为逊色，他将成为经历磨难战无不胜的巨人，值得每个人学习。人生本来就是一种无止境的追求，道路漫长、艰难，而且充满坎坷，但只要自己勇敢顽强地以一颗自信的心去迎接挑战，便将永远是一个真正的胜利者！人类的生存意识是大海，如果盲目强调一个生命对另一个生命的征服和占有，即使进行着不屈不挠的过程，结果只有海明威所写的，老人空手回航：“一个人并不是生来要被打败的，你尽可以把他消灭掉，但永远不会打败他。”[1]

赏析:海明威《老人与海》 第4篇

老人与海

是谁把这两个词放在一起

一个渺小、衰弱的

一个浩瀚、莫测

又是谁灵感一现让他们之间发生故事

一场搏斗的开始

海明威

我不懂

如此的悲壮到底要成就什么

人类的智慧与衰老

海洋的孤独和巨怪

这样一场搏斗

注定会成就的一定是华美的悲壮

当老人惊讶的看那条鱼跃出水面时

当老人一遍遍重复男孩要是在的话

当老人倔强的奉陪到底时

当老人自言自语无助孤单时

青春不会在你需要时再次出现

上天不一定在你需要时派给你一个救世主

上天在夺走你青春的时候

也许你也可以留下的不服输的倔强

孤独有时候是必需的

安静的贮备着再次挑战的力量

当欲望的诱惑夹杂着人性的骄傲

即使注定失败

也会将较量进行到底

当晕眩的双眼看不清挣扎的鱼

当勒紧绳索的双手渗出鲜血

当茫茫无际的大海听到一只鸟的来到

当胜利的成果超出想象无比意外

当疲惫终于叫醒自己

当阳光第三次除去大海黑色的恐怖

我们有理由相信潜力在意识的支配下

会带给我们无穷的惊讶

我们有理由相信伤痕会唤醒力量

我们有理由相信希望的节奏敲响在未来的脑海

当征服大鱼的喜悦还没来得及回味

耀眼的果实就引来了强大的对手

当一条条鲨鱼轮番上阵

当鱼叉利刀木棒一件件失去

当体力慢慢散耗

只有自己

徒手等待无助的抢夺

当一条鲨鱼逼向鱼头时

已再也不想做点什么了

甚至于不想看那条鱼的残骸

三天的搏斗

如今只剩下

一副骨架

船轻飘飘得回港

也许真的出海太远

也许真的没必要强盛

一切就像一场梦

当老人拖着透支的身体

躺上床的那一刻

我哭了

不知道为什么

反正不是同情

反正不是心疼

我读到的

如果是感动

如果是骄傲

如果是震撼

如果是对人生的敬意

不是温暖

如此真实

每个人都有梦里的小狮子

唤醒他

属于青春的昂扬

让一生的回忆

成就一部传奇

赏析:海明威《老人与海》 第5篇

解读海明威的《老人与海》

年：2015

卷：000

期：006

页码：

页数：2

中图分类：

正文语种：CHI

关键词：渔夫;大海;硬汉精神;品质

摘要：《老人与海》是海明威1951年完成的一部中篇小说，这部小说一经问世就不同凡响，成为海明威文学创作中最著名的作品之一。小说主要描绘的是一位老人和一条大鱼在海中搏斗的故事，故事情节曲折，令人难忘。正是这部作品使海明威获得了诺贝尔文学奖，为他的文学创作之路奠定了重要的根基。在这部小说中，老人桑提亚哥展现了人类顽强的意志和坚忍不拔的精神，向读者呈现了人与自然、灵与肉的斗争，这也正是在现代社会中所需要的可贵品质，因而引发出人们对人生的沉思——坚守、追求和信仰这些人类的精神生活能够超越一切。

赏析:海明威《老人与海》 第6篇

内容梗概

老渔夫桑提亚哥已经连续八十四天没有捕到鱼了。大家认为他是“倒了血霉”。小男孩曼诺林过去和他一同出海，非常爱他，希望能给他安慰和照顾。他们在桑提亚哥的茅棚里一起聊城里的棒球比赛，以及老人年轻时在非洲海滩上见到的狮子。

老人每天晚上都会梦见那些狮子。他爱他们，如同爱这孩子一样。

第八十五天，老人决定出海到远方去逮一条真正的大鱼。中午时分，一条大马林鱼在一百英寻深处咬了钩。老人把钓丝放在脊背上，在手里握得紧紧的。大鱼不慌不忙地游着，把小船向西北方向拉去。四个钟头以后，情况依旧，而太阳落下去，陆地已经看不见了。

一夜过去，鱼儿还没有累乏，船依旧不停地走。老人说：“鱼啊，我爱你，非常尊敬你。不过今天无论如何要把你杀死。”为了保持力气，他吃了清晨时钓到的金枪鱼。他的右手在淌血，左手开始抽筋。他感到很孤单。

太阳又落下去了。老人回忆起自己年轻时跟一个黑人比手劲的光景。他认为只要他愿意，就能够打败任何人。接着他钓到一条鲯鳅用来做食物。夜里，他睡着了，梦见了狮子。

天还没亮，鱼挣扎着在水面上跳起。日出之后，鱼开始打转了。僵持了两个钟点，老人和大鱼都已经筋疲力尽。他使出全身的力气，用鱼叉将它刺死，随后把它绑在船上，让船掉头驶去。

不多久，海里的鲨鱼就嗅出了血的味道，来袭击大鱼的尸体。老人用鱼叉把这条巨大的鲭鲨杀死。他的鱼叉被鲨鱼带走了。他说：“可是一个人不是为失败而生的。你尽可以把他毁灭掉，可就是打不败他。”

两个钟头之后，又有两条鲨鱼向他袭来。他用绑着刀子的船桨打败了它们，但是刀子也折断了。日落前后，鲨鱼不断袭来，他用棍棒不断地还击，把他们击退。他说：“我要跟它们斗到死。”接着直到半夜，鲨鱼成群窜来，掠走了马林鱼身上最后的一点肉。老人知道他终于被打败了。

他回到渔港。第二天，渔夫们丈量老人船上的骨架——它足有十八英尺长。曼诺林见到老人满是伤痕的手，放声哭了起来。

那天下午，老人又睡着了。他正在梦见狮子。

研究综述

中国对海明威的研究始于20世纪30年代。第一篇文章是1933年黄源的《美国新进作家汉敏威》（《文学》一卷三期），属简介性文字。1834年叶灵凤的《作为短篇小说家的海明威》（《现代》五卷六期）是中国第一篇研究海明威的论文，论述了海明威的文体风格：“用着轻松的文体，简单的造句，平易的单字，不加雕饰的写着人类日常生活所表现出的一切原始赤裸的动作和要求，……这便是海明威的小说。”1935年赵家璧的《海明威研究》（《文学季刊》二卷三期）更侧重海明威小说的思想主题。建国前的海明威研究，仅限于对海明威及其作品的总体评论。

赏析:海明威《老人与海》 第7篇

《老人与海》赏析

瑞典皇家科学院在授予海明威诺贝尔文学奖时称赞他“精通现代叙事艺术”。《老人与海》就是一个光辉的范例。它体现了海明威独特的散文风格。《老人与海》的故事很简单，人物只有老人圣地亚哥和小孩马诺林两人，情节也不算复杂。从表面看老人虽然失败了，但在精神上他并不屈服，诚如他所说的：“—个人可以被毁灭，但不能给打败。”这部脍炙人口的中篇小说是一曲打不败的失败者的赞歌。

故事的叙述是多角度的。在直叙中有插叙，在插叙中交织着老人对往事的回忆和对眼前事物的感慨。老人出海不久便梦见孩提时见过的非洲海滩、海峡和大山；第二天又想起曾与一个码头上大力土比手劲的胜利情景；后来在同鲨鱼搏斗时记起垒球名将老狄马吉奥勇战对手的一幕，这些都增添了他必胜的信心。他常梦见狮子，思念马诺林，在茫茫大海上自言自语，这也给他带来了力量和勇气。他有时也议论“杀鱼是不是罪过”，对受伤的左右手感慨一番。这些心理刻画和细节描写往往天衣无缝地结合在一起。叙述者的人称不断改变——第三人称和第一人称交替使用，使单调的捕鱼过程显得多姿多采，引人入胜。

《老人与海》写的是一个老人，却展现了一个世界。小说内容十分丰富，涵义深刻，是一部现实主义的杰作，读后回味无穷。