丧钟为谁而鸣

出版时间:1997-12-1  出版社:上海译文出版社  作者:海明威  译者:程中瑞  
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内容概要

美国青年罗伯特乔丹在大学里教授西班牙语,对西班牙有深切的感情。他志愿参加西班牙政 府军,在敌后搞爆破活动。为配合反攻,他奉命和地方游击队联系,完成炸桥任务。
他争取 到游击队队长巴勃罗的妻子比拉尔和其他队员的拥护,孤立了已丧失斗志的巴勃罗,并按部 就班地布置好各人的具体任务。
在纷飞的战火中,他和比拉尔收留的被敌人糟蹋过的小姑娘 琶丽亚坠入爱河,藉此抹平了玛丽亚心灵的创伤。
在这三天中,罗伯特历经爱情与职责的冲 突和生与死的考验,人性不断升华。在炸桥的撒退途中,他把生的希望让给别人,自己却被 炮弹炸断了大腿,独自留下阻击敌人,最终为西班牙人民献出了年轻的生命。
《丧钟为谁而 鸣》是海明威流传最广的长篇小说之一,凭借其深沉的人道主义力量感动了一代又一代人。

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  •     after months' slimming, finally finish this book. what a relief! this process is kind of torture cause the text is full of discussion about humanity in the background of war, and for no reason I believe H shows enough sarcasm towards communism and republic dream. evil and absurdity also exist in the passionate rush of their comrades. they succeed by means of killing. and goodness, like love, forgiveness and generosity, seems so useless in fighting Fascism. the only thing I can see is the violence from both sides eliminating the kindness in people.
        
        Robert's love I don't understand. Maria, his little, innocent rabbit, is considered as a symbol of gentle love, which should be protected or won't survive the war. at the last scene, he persuaded her by telling her again and again: I am thee, I will go with thee. though it is hard for you, you should live you life on behalf of me.
        
        his lovely rabbit, the only thing around him relating to peace and hope, has gone with other comrades. she will go to madrid, take him away from the desperate war.
  •     谁都不是自成一体、与世隔绝的孤岛,每个人都是广袤大陆的一部分。如果一块泥土被海水冲走,大陆就会减少一点;如同一座海岬,也如同你的朋友和你自己。任何人的死亡都使我有所缺损,因为我与人类难解难分。因此,千万不要去打听丧钟为谁耳鸣,丧钟为你而鸣。
      
       ——约翰•唐恩
      
      高中时,因为读了海明威的《老人与海》知道了一个叫圣地亚哥的老头儿,他以干枯的身躯于海浪之中和鲨鱼展开搏斗,尽管最后剩余的只是一堆鱼骨头,但我们理应向这个高贵的老人低下年轻的头颅。每念及此,耳边就会回荡起那句鼓舞人心的话:人不是生来要给打败的,你尽可以毁灭他,但就是无法打败他。
      
      现在读完《丧钟为谁而鸣》一书,则又记住了罗伯特•乔丹这个形象,同样是硬汉本色,顽强、果敢、沉着,浑身抖擞着战斗精神。我叹服于海明威竟然将故事演绎和时间跨越仅仅铺就在四天之内,写得相当细致、紧凑,但又不显啰嗦,而是浑厚饱满,一气呵成!全书充满了大量精彩的对白和独白,深入地刻画出并反映了战争中的人物特征和情感世界。一路读下去,就像是正在欣赏着一部二战时期的黑白画面的老战争片一样,不愧是一部大作!
      
      它的背景是西班牙内战,主要说的是政府军为了突破叛军在马德里西北山区的防线,区司令戈尔茨将军特派志愿兵罗伯特•乔丹前往该山区辅助前方游击队完成炸桥任务,全书即绕此而展开。这不免使我想起了去年暑假看过的《桥》这部前南斯拉夫老电影,同样是炸桥的故事,同样是游击战,同样也是与法西斯作战,同样也是平缓之中显跌宕,同样也是对勇气与信仰的考验,简直就是《丧钟为谁而鸣》的翻版!哈,真是巧了,这部电影中的主题曲游击队之歌《啊,朋友》也契合了本书的基调:
      
      那一天早晨 从梦中醒来
      侵略者闯进我家乡
      啊游击队啊 快带我走吧
      啊 朋友再见吧 再见吧再见吧
      游击队啊 快带我走吧
      我实在不能再忍受
      如果我在战斗中牺牲
      你一定把我来埋葬
      请把我埋在高高的山岗
      啊 朋友再见吧 再见吧再见吧
      把我埋在高高的山岗
      再插上一朵美丽的花
      啊 每当人们从这里走过
      都说多么美丽的花
      每当人们从这里走过
      都说多么美丽的花
      啊 朋友再见吧 再见吧再见吧
      
      毫无疑问,罗伯特和他的游击队战友们就是这美丽的花;同样,那些为我们祖国在抗日战争和解放战争中做出了无私伟大牺牲的先驱们也是这美丽的花,一朵连着一朵,光彩鲜艳,开放在高高的山岗上,永不凋零,永被铭记!
      
      但这不仅仅是一部战争小说,它还注入了对人类社会宗教情怀般的思考。海明威就是想告诉我们,如果你认同整个人类是一个命运共同体的话,那么别人的不幸就是你自己的不幸,别人的痛苦就是你自己的痛苦,因为每个人都不是一座独居海外的孤岛,而是整个大陆的一块。在战争面前,没有胜利者。你身边的每一个人都是你的手足同胞,每一个无辜生命的逝去,都意味着人类这一整体的小块缺失,永远的缺失。生存?还是毁灭?这是个问题。
      
      这份悲悯之情,足以使我们为之动怀。比如在第三章,罗伯特问老游击队员安塞莫尔道,“你杀过人吗?”安塞莫尔说,“杀过,杀过好几次。不过我并不乐意。在我看来,凡杀人者都有罪,哪怕是杀那些我们非杀不可的法西斯坏蛋。”“可是你杀过人的。”“是呀,还得继续杀;不过,只要我能活下去,我就好好地过活,不伤害任何人,这样才会被宽恕。”这是在战争面前一种无奈的矛盾心理,但安塞莫尔的悲天悯人却毫不虚假,任何读过这本书的人都能感受得到这位老人的善良与仁慈,他甚至为敌人的死亡洒下热泪;可惜,最后在炸桥时他还是死了,没有遗言,没有告别——可恨的战争,可怜的安塞莫尔……
      
      这里,我们也无法忽略游击队的其他队员:强干、直率的比拉尔夫人,很有权威和号召力,她一直支持着罗伯特的行动;玛丽亚,这个善良坚强的姑娘在战争中失去了家人,但她并没有为此放弃生活,她和罗伯特演绎了一段绮丽浪漫的战地情缘;巴勃罗是一个自私的、令人厌恶的家伙,他是那些在战争中苟且偷生、精神垮掉的代表,但他毕竟也为炸桥做出了一点儿贡献;还有那个脸色黝黑喜欢逮兔子的吉普赛人拉斐尔,有着一副急性子总爱骂骂咧咧的奥古斯都,冲破重重关卡传递情报的送信员安德烈斯以及坚持到战斗最后一刻的聋子等,他们虽然都是不起眼的小人物,但他们却都坚守留在前方和敌人斗智斗勇,为自由而战,为信仰而战,为共和国而战。
      
      最后,当大桥被炸掉的那一刻,没有振臂欢呼,没有可歌可泣,有的只是愤怒、空虚和疲倦,因为他们知道这不能算是胜利。其中,我最触动的是,在撤退遇伏时,罗伯特不忍连累队友而选择独自一人在山林里拖着一条断腿等待着死亡的来临,“他静静地躺着,竭力地坚持着,因为他觉得生命在悄悄逝去,就像雪从山坡上开始悄悄融化一样”,终于,屠杀并取走聋子首级的敌军中尉贝仑多出现在了乔丹的视野中,“他感到自己的心脏抵在树林里的松针地上怦怦直跳……”至此,全书完结,那一刻,我的心脏也跟着跳了起来,我似乎听到了叮叮响起的钟声……
      
  •     罗伯特在他最后的时光中反复告诉自己,他还想活下去,因为他在这三天的进步太多了,他想做个老人,把自己学到的传下去,告诉别人,影响别人。 这里面有生的渴望,有生的喜悦,也有生的意义。人皆传闻海明威的一生中最着迷的是“死”这个词,我看这不简单。死和生就像阴和阳,只有真正的理解生,才能明白真正的死。反之亦然。这两个究极而言是统一的。
      
      人动物性的核心是怕死,人怕死就像斑马、猩猩和鬣狗怕死一样。所有宗教的核心都是这个东西,利用人的这个心理来做突破,从而把人作为自己的俘虏。可是人也有另一个恐惧的东西,那就是生而不知为何而生。也许这么说有些怪异,但是我认为这个恐惧并非人人都有,或许和智商有关。行尸走肉的生,被人操纵的生,很多笨人不以为意(甚至还会以为这就是人生),而聪明人或许就会觉得生不如死。
      
      这里就有意思了,如果事实真的只是这样,那么或许就完结了。笨人胡混度日,聪明人痛苦捱生。大家清清爽爽,个不干扰。但是,我在这里被海明威震撼到,没有人是一座孤岛,丧钟为你而鸣。鲁迅的痛苦不仅仅是众人皆睡我独醒,还有的是为他人沉睡而不自知的折磨。在清醒的人眼里,每个人的生死都是相连的。我们有理由为安塞尔莫,奥古斯丁的死而难过,也应该为玛丽亚,比拉尔,巴勃罗的生而开怀。
      
      罗伯特的生命力量非常强大,他聪明好学,勤于思考,努力把事情做对并且成功。他的力量强大还在于他对生命还非常渴望,他想带上玛丽亚去马德里,想把自己学到的东西教给别人,但是,当时机来临,他需要做出牺牲时,他完成了自己的使命。但是他从未停止过迷茫,他每时每刻的反思几乎把我都压垮。他救人也杀人,杀人也救人。他对死亡的理解在生命的最后时刻统一了,就像他对玛丽亚说的:只要我们俩有一个人活着,我们两个就在一起。
      
      在写这篇读书笔记的时候我有些感觉无从下笔,太多复杂的情绪,但是我能感到一种很宏大的力量。作为一个个体我感到和整个人类的相通,在巨大的命运面前我的生似乎微不足道。
      
      这不仅仅是一本战争书,也不仅仅是一本爱情书,这是一本关于人类的书。每个人都不是一个孤岛,每个人都应该努力不做孤岛,人们应该放慢脚步,聊聊天,想想接下来的路。
  •     CHAPTER 3
        THEY came down the last two hundred yards, moving carefully from tree to tree in the shadows and now, through the last pines of the steep lull side, the bridge was only fifty yards away. The late afternoon sun that still came over the brown shoulder of the mountain showed the bridge dark against the steep emptiness of the gorge. It was a steel bridge of a single span and there was a sentry box at each end. It was wide enough for two motor cars to pass and it spanned, in solid-flung metal grace, a deep gorge at the bottom of which, far below, a brook leaped in white water through rocks and boulders down to the main stream of the pass.
        The sun was in Robert Jordan's eyes and the bridge showed only in outline. Then the sun lessened and was gone and looking up through the trees at the brown, rounded height that it had gone behind, he saw, now, that he no longer looked into the glare, that the mountain slope was a delicate new green and that there were patches of old snow under the crest.
        Then he was watching the bridge again in the sudden short trueness of the little light that would be left, and studying its construction. The problem of its demolition was not difficult. As he watched he took out a notebook from his breast pocket and made several quick line sketches. Ashe made the drawings he did not figure the charges. He would do that later. Now he was noting the points where the explosive should be placed in order to cut the support of the span and drop a section of it into the gorge. It could be done unhurriedly, scientifically and correctly with a half dozen charges laid and braced to explode simultaneously; or it could be done roughly with two big ones. They would need to be very big ones, on opposite sides and should go at the same time. He sketched quickly and happily; glad at last to have the problem under his hand; glad at last actually to be engaged upon it. Then he shut his notebook, pushed the pencil into its leather holder in the edge of the flap, put the notebook in his pocket and buttoned the pocket.
        While he had sketched, Anselmo had been watching the road, the bridge and the sentry boxes. He thought they had come too close to the bridge for safety and when the sketching was finished, he was relieved.
        As Robert Jordan buttoned the flap of his pocket and then lay flat behind the pine trunk, looking out from behind it, Anselmo put his hand on his elbow and pointed with one finger.
        In the sentry box that faced toward them up the road, the sentry was sitting holding his rifle, the bayonet fixed, between his knees. He was smoking a cigarette and he wore a knitted cap and blanket style cape. At fifty yards, you could not see anything about his face. Robert Jordan put up his field glasses, shading the lenses carefully with his cupped hands even though there was now no sun to make a glint, and there was the rail of the bridge as clear as though you could reach out and touch it and there was the face of the senty so clear he could see the sunken cheeks, the ash on the cigarette and the greasy shine of the bayonet.
      
  •      一直对写下这篇文章没有任何头绪,因此任凭时间流逝,让思绪渐渐平静,也下不了手书写。明天是2011年了,在这最后的一天里,只是单纯地想给某些东西来个总结……
       ——题记
       任何人的死亡使我有所缺损,因为我与人类难解难分。
       所以千万不必去打听丧钟为谁而鸣,
       丧钟为你而鸣
       ——约翰•堂恩
      关于死亡与信仰——Hay que tomer la muerte como si fuera aspirina.
       喜欢最后的那句话,残酷而清醒,任何人在任何时间与地点都无法计算出自己生存的期限。所以乔丹拒绝着承认吉普赛人的算命方式。“所有的杰出人物,你仔细想想就知道,都是快快活活。快快活活的情绪要好得多,而且这也是一种吉兆。仿佛你还活着的时候就得到了永生。”“人怀着恐惧,看到了不好的迹象就会想象自己的末日到了,就认为这种想象是预感。”宁愿快活活着,也不想去考虑明天之后生命是否存在,只是当劳累与气愤或者悲观情绪在深夜蔓延时才会让这种念头陡然降临。
       他没有所谓信仰的存在,如果说有,只是抱着满腔热情对自由以及国家解放的一个争取罢了。因此在执行这所有的任务之时,只能凭借自我心理安慰而来完成一个心灵的解放。他依旧善良,也依旧屠杀敌人,在进行战争时需要不断的心理挣扎,无法控制地自责时便会开始转移对屠杀这一正义但残忍行为的愧疚,怀念过去美好的时光以及思念最爱的人。他喜欢不断地用英雄祖父以及懦弱父亲的行为来做对比,生命里最重要的亲人成为他战斗不止的参照物。
       迷惘其实从开始就一直存在于过程中……
       “哪种人对于这处境会更觉得坦然?有宗教信仰的人呢,还是正视现实的人?宗教使人们得到很大的安慰,然而我们知道,实在也没有什么可怕的。糟的只是缺乏信念罢了。只有当死亡拖延很久才来临,并且痛苦得使你丢人的时候,这才是最糟的。”当神经被弹片弄断时,卧倒在草地上的乔丹只剩信念,鲜血横流里伴随着生命一点点被死神抽离……那时候能够依靠的,唯有信念。
       当死亡瞬间到来时,你不会害怕,迅疾而暴烈的死亡只会有片刻的疼痛,之后一切消失殆尽,任时间空流,你与世无关;当死亡缓缓降临,即使能多看世界一些时光,可是恐怖和疼痛的感觉会让你沉沦于黑暗世界,你不会再拥有心境欣赏所有的美与丑……
       当贝仑多中尉策马而来,时间与空间在乔丹生命的刹那间,到此为止……
      关于战争——Qué cosa más mala es la guerra
       不知为何,看书时,战争所带来的残酷感觉让我不寒而栗。即使知道这只是小说,而并非赤裸裸的战争实录。我想我不适合读关于战争的有关真实记录,害怕人性的真实残酷会在文字里一点一点被剥落。战争是引发人性真实爆发的最好工具,想象不出当用刀子砍下人颅时是一种什么样的感觉,只觉得寒意阵阵。是否战争里一切都会显得自然而无所谓呢?不知道……
       “他们驶近一辆装载士兵的卡车时,后面亮起了灯,他在这突然的闪光中看到了他们死板而悲伤的脸庞。他们头戴钢盔,坐在卡车里,在黑暗中驶向他们只知道要发动一场进攻的鬼地方,各自心事重重地在黑暗中绷紧着脸,灯光显示了由于羞于给彼此看到而在白天不会流露的神情。”
       或许,他们也对这些人性屠杀的行为害怕而厌倦,只是不是他人亡,就是你死,这样决绝的命令与命运降临时,所有一切行动只会指向自身。如果死亡的不是你或是你的亲人,在生命威胁下,你会很容易选择结果。只是自此之后,生命会永远遭受诅咒……
       “这一切都是犯罪,谁也没权夺取别人的生命,除非为了防止其他人遭到更大的不幸。”
      关于爱情
       “这种感情你以前从来不理解而现在体会到了,你对他那么重视,认为它是那么合理,以致你自己的死亡似乎完全无关紧要;只因为死亡会妨碍你履行职责,才要加以避免。但是最好的一点是你可以为了这种感情以及这种必要性而采取行动。你可以战斗。”
       即使这是用来述说乔丹的信仰的,但在最后,其实很多的行动还有战斗,都只是为了她。
       战争中的爱情从来就是不幸,只是在这短暂三天里,乔丹依旧可以庆幸自己的这段突然的甜蜜可以代替自己的一生。无论是马德里的宾馆,无论是盖洛德饭店,无论是美国女人租赁的房子还是所有的一切一切,都随着死亡戛然而止。突然之间想起了《Titanic》里的Rose,在Jack沉入大海的未来里,她依旧结婚、生儿育女,有平凡而幸福的家庭。而对于玛利亚来说,这些是否会到来?或许在某一天,他会发现自己的身边一直拥有着一个等待自己的奥古斯丁,但我的心里却偏执地认为,她会孤身一人一辈子。她弱势,她无依无靠,她不像Rose。玛丽亚的身体以及心灵上都刻满了伤痕。在未相遇之前,她的生命里随着战争的到来充满了阴霾和恐惧。乔丹用他的3天,为她抚平所有的一切,随之又离开,留下新一番的伤疼。当结痂的伤口再次被剥开,且一次比一次深刻,或许连疤痕也无法留下了,只有死亡。
       我亦偏执认为,玛丽亚会选择死亡。这样一个女孩,或许能够选择的只有死亡。她的世界里,连爱也剩下不了,还有什么东西能值得眷恋?当然,如果有人能抱着怀念过一辈子,那便也是另一个意外。
       不过也好,不知道海明威在吉普赛人的预测里是否给予的就是玛丽亚未来的幸福和平静,只是一切还是隐藏的好。没有任何伤口是愈合不了的,即使是Rose在那么激烈的爱情里,依旧可以脱离,然后寻找另一份幸福。
       没有点明的结局是一件明智的事情。就像如果Jack没有死,Rose和他的私奔会变成一出令人失望的悲剧。就像如果乔丹没有死,玛丽亚和他过后的离开会变成一出无奈乏味的家庭剧。门当户对一直是人们心中没有言明的标准,一个没有受过教育的女人,能做的似乎只有家务,并且担任生理需要的解决者。这未免过于悲剧,过于现实。因此,小说一直都只是虚构,里面有戛然而止的某些东西。
       Marriage need spirit.
      关于海明威
      安:你知道海明威是怎么死的吗?
      他:不知道。
      安:他把猎枪塞进自己的嘴巴,一扣扳机……
      他:嗯。
      安:然后他整个头盖骨都被掀飞。
      他:很惨烈。
      安:不是惨烈。
      安:仅仅是他喜欢的方式而已。
       ——《告别薇安》
       海明威,在阅读《老人与海》时,心里的幻想是慈祥的老人,像圣地亚哥般黝黑的肤色,笑起时露出洁白牙齿,感觉温暖。在那篇不长的小说里,永远都记得的只是那句“人可以被毁灭,却不可以被打败”,这样一句简短的话陪伴了我漫长的高三。
       后来在黑夜里聆听安妮宝贝的《告别薇安》,叶清的声音显得性感却同时的寂寞。第一次开始知道海明威选择结束自己生命的暴烈方式,瞬间愕然。
       他们说,《丧钟》是海明威最摆脱孤独,和与世隔绝情绪的一部著作,可我依旧寻觅到了绝望的轨迹。婕在听完我说的那句《老人与海》里的名言后,说:“他的自杀只是自我毁灭的方式。”
       恍然之间明白海明威为何选择死亡,用迅疾的死亡告别自己无法超越的,任凭自己曾经的荣耀在世间留存。
       “不必去打听丧钟为谁而鸣,丧钟为你而鸣。”生活从来就没有多大的意义,生命诞生后,一切只是悲哀泛滥,然后在瞬间,终会会看到死亡来临。生命中唯一能让你选择的,只是将悲哀隐藏……
      
      
      
      
      
      
  •     所以千万不必去打听丧钟为谁而鸣?丧钟为你而鸣。海明威在全书开篇已经说明了这个问题。因为我已与人类难解难分。
      故事整体来说十分紧凑,作者关键抓住了人在面临死亡的恐惧与抗争的勇气之间互相矛盾而又独立的思想,那就是要抗争,尽管潜意识还是希望不要发生。
      人性如此复杂,人性如此合理,人性如此高尚。
  •      读完正本小说的时候,午后的阳光斜斜地透过窗户照耀进来,投射在屋内简洁的水泥地板上,空气中随处可见的微尘在阳光里飘扬舞蹈。向着阳光照射来的方向,抬头便看见了城市上空湛蓝的天空和一丝清晰可见的白云,屹立的高楼层层叠叠延伸向远方。
       这就是我们活着的世界,美好而自由。即使你知道在这个世界的很多角落还有着贫穷与饥饿,有着战争与暴动,还有着不公与压迫,即使你天天刷着微博上着人人看着一条条匪夷所思的图片和报道,并且在信与不信之间徘徊,可是此时此刻,这个在你身上发生的美好的午后让你觉得,活着真好,世界真好。
       我不禁再次回想起乔丹(主人公)在生命最后一天的黎明,与深爱的女人共享最 后的永恒时刻:
       “他们合二为一了,尽管表针在走动,但是没人看了,他们知道,一个人有的感受另一个人也一定会有,只有这种感觉,这就是永恒,过去、现在、将来,都是这样。他们现在正在享受的,他们将来不可能在享受了。他们现在所拥有的,过去有过,一直都有,但重要的是现在,现在,现在,啊,现在,现在,现在,唯有现在,首先是现在,除了你这个现在,没有别的现在,而现在是你的先知。现在,永远是现在。来吧,现在,因为除了现在只有现在,是啊,现在。就是现在,只有现在,除了现在什么都不存在,你在这,我在这,一个在这,另一个也在这,别问为什么,永远别问,只有现在;一直这样,但愿永远是现在,永远实现在,因为永远只有一个现在。只有现在,只有一个,出了一个现在没有别的,一个,正在进行的现在,正在升腾,漂流,离去,盘旋,翱翔,小时,一直在消失,不停地小时;一个加一个等于一个,一个,一个,一个,还是一个,还是一个,下沉地在一起,温柔地在一起,渴望地在一起,亲切地在一起,幸福地在一起,美满地在一起,宠爱地在一起,一起躺在地上,胳膊肘支在看下来当床用的松枝上,散发着松枝和夜的气息;现在终于回到大地上,清晨即将来临。”
       不断地排比、重复,文字激荡出主人公内心强烈的情绪,直抵读者内心。伤感的、悲壮的、不舍的、感动的、震撼的,种种感情在这一刻矫揉在一起,似乎升华了,似乎还是停留在那里,留着一分期许,等待着美好的结局发生,无论种种,这复杂的情绪作为这一份永恒的存在驻留在心中。是的,他就要度过人生最后的一天了,他就要去完成那项光荣的使命了。哦不,谁也不知道他是否能活过这一天,他自己也不知道,至少他还希望能回到马德里,能带着玛利亚去会见他在盖洛德饭店的朋友,回到蒙大拿继续自己的工作。
       他就是一个教西班牙语的大学讲师,也许他也曾经欣赏过无数个如此美好的午后阳光,只是动荡的社会和崇高的使命感让他投身到了革命中。这项任务发生的始末不过仅仅四天的时间,罗伯特.乔丹却在四天的时光中度过了人生最美好而完整的时光。他遇到了自己的爱人,遭遇了叛变和回归,思考了一生中最多的东西。或许这是一种昭示,因为迫近死亡,所以五官通灵,六神发达,更能感知这个世界,在启示中人生得到升华,思想得到历练?
       我们的生活过于安逸,安逸到一点点挫折便足以让自己称苦到累。陶醉在这样的午后,我们没有办法体会人间冷暖,更无法得知何为真正的痛和苦,我们所跨过去的那些所谓的小小苦难,在这些人间大是大非面前,在和平与正义的大命题里,实在是微不足道。而在那些战士眼中,苦痛不过是人生的必经路,那么死又是什么呢?或许他们已经忘了死者一回事了,因为有更多有意义的事情在等待他们思考。
       海明威写道“死没有什么了不起的,他没有想过死是怎么回事,也没有对死的恐惧。但是山坡上田野里起伏的麦浪、天空中的苍鹰、打谷筛秣时喝的一陶罐水、你胯下的马儿、腿下夹着的卡宾枪、小山、河谷、树林里的小溪、河谷另一边的群山,一切都那么生意盎然。”
       在海明威笔下的村庄总是充满生活的气息,大自然的清香,是的,一切都那么生意盎然,我想作者想要告诉我们的,是那个时代的人们,那些维护和平的战士对生命的渴望,渴望着“生命、自由和对幸福的追求”,这句被写入美国宪法里的话,仿佛是人类追寻着的永恒的主题。我们所做的那么多的努力,追溯历史,每一场战争,每一次革命,只是一群不甘于生活困苦潦倒、命运曲折不公的人出于这样一个美好的愿望,用这样或者那样的方式向社会抗争,为命运反抗。
       在如此厚重的主题面前,我写不出更好的读后感。只是想象着主人公,和玛利亚,和比拉尔、巴勃罗,和所有同伴一起,转移到安全的地方。在马德里的午后,这对幸福的爱人,享受着阳光,自由如同他们正在呼吸的空气,握住彼此手中的幸福。
       只是最后要记得,我们今天所有的美好,都是诸如罗伯特.乔丹一样的战士们赐予的。
      
  •     二战,似是一个永不褪色的命题。自一九四五年夏欧洲战火熄灭,日军代表于同年九月二日在美国列舰“密苏里”号上签字投降,这段深烙人心的峥嵘岁月终告一毕,距今算起业已六十余载。半个世纪以降,后人纪念二战的方式各色不一。有人说,那是一段永无忘怀可能,却难以轻启、娓娓道来的特殊记忆;也有人说,那是一卷满载光荣与梦想、镶着金边的巨篇史诗。
      时光流转,往事漂淡。当挥斥方遒的肆意、卸甲凯旋的浪漫复归于平静的现实,时代的强音亦消弭于无形。那些被战争铁骑碾碎的梦,被遏制了绽放、连根拔起的生命,以及被强行改变了轨道的命途,一代人的伤痕记忆这才渐渐浮于水面,连同陌路同行相依取暖的点滴温情,就这样在历史细致入微的长镜头下,缓缓地铺展开来。
      只是现实的铁栏,从来都不曾稍歇。那些曾经与青春相伴、支撑着困境中人前行的信念,那些被留在暗处独自品味、无从诉说的坚持与孤独,在这个喧嚣浮躁、讥笑理想的和平年代,也忽然有了更多被提及的价值。
      
      人之战役,战役中人。
      
      一九三一年初秋至一九三九年春的西班牙内战,于今已成为历史陈迹,在二战浩如云烟的篇章中,这一页的影响力也远不如珊瑚海战役、诺曼底登陆等名役那样的重。虽然西班牙战场曾担负了欧洲战线序幕的角色,可意义虽重,没有二战样板戏那般具备摧枯拉朽、惊心动魄、可供再加工的戏剧化元素,作为以战争为主要旋律的文学作品,它无疑不是最佳的选择。战术的精妙绝伦,局势的百转千回,在这册《丧钟为誰而鸣》里,并无更多着墨,海明威之所以颠覆了传统史书自上而下的“俯视”叙事观,轻“战事”而重“人情”,一是以战争本身为主角的作品已然俯拾皆是,二是战场之上,千帆并进、万炮齐鸣的画外之音,他已然洞悉:战争,是人的战争。
      作为军事战略中最小的计量单位,“人”被抽象为没有位格意味的战力代号,战地记者口中毫无感情色彩的死伤数量。随着战火的不断蔓延,“人”的社会属性,一并它的生物属性,都正被有意无意地淡化。海明威敏锐地察觉到了这一点,对于在一战中曾投身意大利战场、亲历战火洗礼的他而言,他清楚地知道,沉溺麻痹来驱散萦绕心头的阴霾,不过是变相的饮鸩止渴。唯有去窥察被集体主义历史观所湮灭的人性幽微,重新去解读战局中人随战势起伏而跌宕不安的心境,在纷乱战火之中梳理出他们荒诞不经的行为逻辑,自下而上地解构庞大的战争机器,才能让反战文学更具反战的说服力。
      《丧钟为誰而鸣》是海明威写作生涯之中篇幅最大的一部小说,但全书从头至尾横跨的时间维度却只有三天(一九三七年五月底一个星期六的下午到星期二上午),时间局促,并不影响海明威在节奏的控制上张弛有度,行文从容流畅,毫无仓促之感。故事讲述发生在马德里西北部——瓜达拉马山脉的敌后武装区中,义军历尽千辛、成功执行的一次爆破任务。时值政府军击溃意大利侵略军,挽回颓势,首度马德里稍获喘息,共和政府将领戈尔兹正欲对占领瓜达拉马山头的叛军反动进攻,以此截断敌人的增援路线。美国志愿军罗伯特•乔丹被戈尔兹将军委派至敌后深山,与游击队接头,待正式进攻打响,炸毁一座负责敌军物资运输的铁桥。在遭遇了奉行犬儒主义、“狐狸原则”的游击队首领巴勃罗的干扰,以及队中其余队员的竭力协助(包括老向导安塞尔莫、巴勃罗的老婆比拉尔、聋子圣地亚哥等人)之后,炸桥任务终于在剑拔弩张的紧要关头坎坷完成,罗伯特也在敌机敌骑兵的炮火之下因公殉职。
      
      正义、果敢、冷静,罗伯特•乔丹这个人物汇集了海明威反战系列作品中所有能够彰显男子汉气概的要素。最终舍生取义的归宿设定,也满足了大多数人对于英雄光辉形象的预设心理。但仔细端详之后,可以辨别得出,和《老人与海》里他所塑造的硬汉渔夫圣地亚哥不同,罗伯特的硬气和粗犷,并没有那种与生俱来的意味。在战前曾是美国蒙大拿大学西班牙语系一名青年讲师的罗伯特,他的身世与经历更让人想起《拯救大兵瑞恩》中的米勒上尉,温文尔雅的教职工作者,阴差阳错因战火折磨被改造为一尊战争机器,压抑私念,听令服从。执行决策的果决,处惊不乱的冷静,即使再严不漏风,都会有倏忽闪过的一丝犹疑,哪怕至短至暂,皆让人泛泪唏嘘,英雄也有“演”累的时候。
      罗伯特惯于在闲暇之余饮酒自酌,躲避清醒时刻的孤独,在酒酣耳热的幻境之中体验片刻的宁歇;他自称毫不迷信,却在任务成功前避谈不吉利的字眼,对比拉尔随性拈来的占卜也是耿耿于怀,静若止水的外表下蕴藏着被心理暗示所压抑的不安与躁动。和玛利亚速成的爱情也是这般,这位曾遭强暴蹂躏、后被游击队救起的战争遗孤,唤起了罗伯特怜惜和爱慕界限难定的情愫。冷彻入骨的寒夜,相依相偎的情人互诉衷肠,无声的默契让两人不愿开口戳破,言之凿凿的承诺将因流变莫测的时局虚妄如影,乃是因为当下的赤诚已是无限的快慰。时光在月明星稀的夜晚静静流淌,疲乏中悠悠地沁透着纾缓的快意,空气中仿若响起了加泰罗尼亚的歌谣,轻奏的和弦,重音的弹拨,悠扬灵动。如约而至的梦境终于姗姗降临,一切诗意的憧憬化为云烟。
      明净、空旷、蔚蓝的天空在书中出现过不下数次,这位无声的配角俯瞰而下,见证了每位主角向往美好的纷呈心绪。比拉尔追忆起战前在巴伦西亚生活的过往,如数家珍。绷脆多汁的甜瓜、盆子里成堆的鳗鱼、冰凉的大罐啤酒,在阳台上挂着细木条帘子的屋里做爱。与亡故前夫菲尼托共同缔造的甜美回忆,悉数泛上心头,不禁泪盈于睫。即使风雨飘摇,依然嘴角泛笑,比拉尔转过身去,不再年轻的硕大背影再度消失在操持军务的忙碌之中。
      以反派形象示人的巴勃罗,其实也有其顽冥固执的另外一面。在铺展松针的树林里与心爱的马儿交心深谈,他苦恼愤懑,仅对自己和自己人负责,错在哪里。他在罗伯特面前流泪倾诉,昔日被封为“比瘟疫还会杀人”的硬汉,叹息如今的软弱无能。“丧钟为谁而鸣,丧钟为你而鸣”,如果真要将罪归于一人,那么错在时代,错在宿命,错在“危巢之下,安有完卵”。想起在故乡阿维尔镇亲手策划、私刑处决法西斯势力的那一幕幕,又或许使他重新审视了正义以外的暴力与嗜血?杀戮合法性的崩塌是否加剧了他的怯弱,都已不得而知了。
      可以说,《丧钟为誰而鸣》里的每一个角色都在执着地追寻属于自己的乌托邦世界,有人迷醉于绚丽多姿的过往,有人苟安于风雨飘摇的当下,亦有人憧憬于远不可及的未来,而能否将三者顺利地转化切换,一般是后人奉为褒贬前人功过的圭臬。而我却以为,比起歧见纷呈的品格议论,以书中人的纠结无奈为镜,管窥出那个时代选择艰难的一个缩影,方才是海明威的本意。
      二战结束之后,美利坚朝野遂将海明威奉为了美国精神的代言人,加上之后的诺奖加冕,的确都有一定应运而生的成分所在。在那个传统价值认知体系被炮火重创粉碎为瓦砾的年代,海明威用尖利的笔锋划开了集体记忆不忍揭起的疮口,使当时的读者原本浸淫于安宁之中麻木许久的神经,恢复了本有的律动。“迷惘的一代”也因而重拾起了一度质疑的信念与理想,哪怕时隔半个多世纪,那份幽藏于灵魂深处的共鸣与悸动,依然炽热滚烫。
      
  •     This book was shared in the book crossing activity in Shanghai Hongqiao International Library. To know more, visit http://www.douban.com/people/50946105/
      
      It tells the story of Robert Jordan, a young American in the International Brigades attached to a republican guerrilla unit during the Spanish Civil War. As an expert in the use of explosives, he is assigned to blow up a bridge during an attack on the city of Segovia. We discussed what message Hemingway wanted to convey to the readers. The title apparently explains a lot. When a person die, the local church bell will tolls; then the villagers might wonder who is dead. Jim commented that Hemingway believed that when a person dies, a part of us dies with him/her because we are all part of the human race. If you are not familiar with the Spanish Civil War, it's when Spain's dictator Francisco Franco came to power and the USA was in the mood of isolation and neutrality. Hemingway might be sending the message that the USA should fight against fascist and dictators and end the bloodshed in Spain. If not, it will bring repercussions upon the USA herself. And as we now know from history, the repercussions were indeed very severe.
      I was not very impressed by Hemingway before, but now realising his far-sight, I will definitely include his books in my reading list.
      
  •     Hemingway's narrative style in For whom the bell tolls
      
       Ernest Hemingway was born on July 21, 1899, in suburban Oak Park, IL, to Dr. Clarence and Grace Hemingway. Ernest was the second of six children to be raised in the quiet suburban town. His father was a physician, and both parents were devout Christian.
      Hemingway's own life and character are as fascinating as in any of his stories. On one level, Papa was a legendary adventurer who enjoyed his flamboyant lifestyle and celebrity status. However, deep inside lived a disciplined author who worked tirelessly in pursuit of literary perfection. His success in both living and writing is reflected in the fact that Hemingway is a hero to intellectuals and rebels alike; the passions of the man are equaled only by those in his writing.
       For Whom the Bell Tolls is a novel by Ernest Hemingway published in 1940. It tells the story of Robert Jordan, a young American in the International Brigades attached to a republican guerrilla unit during the Spanish Civil War. As an expert in the use of explosives, he is assigned to blow up a bridge during an attack on the city of Segovia. Hemingway biographer Jeffrey Meyers writes the novel is regarded as one of Hemingway's best works, along with The Sun Also Rises, The Old Man and the Sea, and A Farewell to Arms.
       As the equal criticism was becoming more and more popular in the 1990s, the "ecofemininism" was rise followed in response to the proper time and conditions, which based on the principle of zoology. It judge the articles again to see whether it is helpful to the stable and consistent exist of the nature principle and zoology.
      Ⅰ.Hemingway's Unique Writing Style.
      A.the consistency of material selection.
       War is the main material in 's art work.Hemingway has took part in the world war Ⅰ,being a War correspondent in the Spanish Civil War,Chinas War of Resistance against Japan,and the World War Ⅱ.For whom the bell tolls and A farewell to Arms depict the wars become the world-known works.
       Boxing is another main theme in his novel.Hemingway himself likes to show his male power in the prizing ring.He even sees the boxing as the epitome of his entire life.
       Hemingway hides her special understanding about human society under the content of hunting as well as his attempt to generalize the conflicts between human and nature.His respectable works about fishing are The Old Man and the Sea,which helps him won the Pulitzer Prize and the The Nobel Prize in Literature.
       In many Hemingway stories, the ability to conquer nature by hunting and killing animals is the test of masculinity. For example, in “The Short Happy Life of Francis Macomber,” the title character comes into his own by shooting buffalo. In “Up in Michigan,” Jim Gilmore is marked as masculine and therefore desirable to Liz Coates because he goes on a deer hunt. In “A Day’s Wait,” Nick Adams goes hunting in order to teach his sick son self-reliance. Lastly, in “Fathers and Sons,” Nick describes with admiration his father’s ability to see and shoot game and describes with gratitude his father’s transfer of hunting and fishing knowledge to him.
      B.uniqueness of the theme.
       Love is a perpetual theme in literary works.Owing to different experience and World view,love that they respectively depict is not same in their works.
       Also a near-constant presence in Hemingway’s stories is the theme of death, either in the form of death itself, the knowledge of the inevitability of death, or the futility of fleeing death. Clearly evocative of death are the stories in which Hemingway describes actual deaths: the war experiences of “The Snows of Kilimanjaro” and “In Another Country;” the suicides of “A Clean, Well-Lighted Place” and “Fathers and Sons;” and the accidents of “The Capital of the World” and “The Short Happy Life of Francis Macomber.”
       Hand-in-glove with the theme of death is another Hemingway favorite: fatalistic heroism or heroic fatalism. This attitude entails facing one’s certain death with dignity. In addition, Hemingway can be seen to embrace nihilism, the belief that life is meaningless and that resistance to death is futile, in some of his stories. In short, Hemingway, critics have speculated, feared death but was fascinated by it; it crops up in one form or another in nearly every one of his stories.
       Animals in the Hemingway canon, whether they are game, pets, or wild, sometimes serve as symbols for their human hunters, caretakers or observers. In “The Snows of Kilimanjaro,” the frozen leopard on the top of the mountain represents immortality, which is the quality Harry strives for even as he is dying. The hyena in that story, conversely, represents Harry’s impending death. In “Old Man at the Bridge,” Hemingway switches the word “pigeons,” a reference to the old man’s eight pet birds, for the word “doves,” a symbol of peace in the midst of the Spanish Civil War. In “Hills Like White Elephants,” the “white elephant” of the title is Jig’s unborn baby, a cumbersome, largely useless thing that is on the brink of driving the relationship apart. In “The Short Happy Life of Francis Macomber,” the wounded lion that Francis shoots and then runs away from represents the obstacle to his proving his masculinity; though not cowardly itself, it represents Macomber’s cowardice.
      Ⅱ. Narrative Style
      A. Hemingway's Style of Writing.
      1. Telegraphic dialogue.
       The style of this passage is classic Hemingway. The phrase structures are the simplest possible—there are no commas. The telegraphic dialogue gives the sentences a concrete, explicit and physical shape, just like a flowing river. The simplicity of the grammar hides the depth of feeling just below the surface: Robert Jordan touches the elements of his physical world, He knows he is about to die. Hemingway’s language, with its deep feeling simmering below unadorned stoicism, is an echo of his hero.
      2.Brief and Sentient Depiction of Scenery.
       "He was completely integrated now and he took a good long look at everything. Then he looked up at the sky. There were big white clouds in it. He touched the palm of his hand against the pine needles where he lay and he touched the bark of the pine trunk that he lay behind"--This passage from the last chapter of the novel describes Robert Jordan's continual struggle with himself to figure out his motives and his purpose. For the first time, he feels“completely integrated” with his world.
       Nature, in the form of beautiful landscapes and wholesome surroundings, is a constant presence in Hemingway’s short fiction. It is often the only thing in the text, animate or inanimate, that is described in a positive or laudatory fashion. Hemingway was a great believer in the power of nature, both in terms of its beauty and its challenges, to improve one’s quality of life. He was a lifelong outdoorsman, an avid hunter, fisherman, camper and boater, and he believed that overcoming natural obstacles using only one’s intelligence and skills made one a better person. In addition, Hemingway’s characters look to majestic landscapes and other manifestations of natural beauty for hope, inspiration, and even guidance during difficult or challenging times.
       In For whom the bell tolls, the development of Jordan's characteristic is carried out by his relationship between the nature and him. At the beginning of the it, he observe the world behind the telescope. "He lay flat on the brown, pine-needled floor of the forest, his chin on his folded arms, and high overhead the wind blew in the tops of the pine trees.--"The mountainside sloped gently where he lay; but below it was steep and he could see the dark of the oiled road winding through the pass", obviously because his attention must pay on the military, he sees the surrounding scene as a challenge toward his work. This military consciousness makes him alienate not only the earth and environment, but also the people around him. However, with the development of the story, he began to have a strong feeling about it especially the pine tree, so as to the nature and comprehension of the world.
      3. Indirect Psychological Depiction.
       Hemingway never analysis the motivation in his novel while he was writing articles.we only see the characters' facial expression,such as the hero's words, doing things,but not his or her inside feelings.when Robert Jordan lay with the girl,"His throat swelled when his cheek moved against Maria's hair and there was a hollow aching from his throat all through him as he held his arms around her; his head dropped, his eyes close to the watch where the lance-pointed, luminous splinter moved slowly up the left face of the dial",which is a perfect expression because from this we can not only see Jorden's deep love to Maria,but also feel the complex and paradox in his language.
      B. Rhetorical Devices.
      Sarcasm
       E.M.Hardy has said that sarcasm made his novel becoming the best novel silently...between the expectation and the reality, the disguise and truth, the intention and behaviour, the information you send and receive., Things people imagine or supposed to be in the world and the real situation is a sarcasm distance. He is really good at strengthen the theme and discover the paradox by using sarcasm.
      Parallelism
       Hemingway also use a lot of parallelism to enrich his novel. he always set the background in a tragic world because only by this can he prove the spirit's permanent and the loneliness of heart.
      Symbolism
       Because there are lots of simple and direct dialogue in For whom the bell tolls, at first i thought it's easy to read, but if you reread it carefully, you will find there are full of obscurities which indicate a more profounding meaning. At the end of this novels,
      When the dying Jordan looking down the hill slop again " He could feel his heart beating against the pine needle floor of the forest" , obviously he acquired the ultimate cognition. It's something that he can't speak out but can be perceived and understood.Although his career and life are tragic, but the earth is going to moving around and the career he has been struggling for will last long and perspective.
      Ⅲ.Literary Significance and Critical Reaction.
       Since its publication, the prose style and dialogue in Hemingway's novel has been the source of controversy and some negative critical reaction.
      The book is written in the third person limited omniscient narrative mode. The action and dialogue are punctuated by extensive thought sequences told from theviewpoint of Robert Jordan. The novel also contains thought sequences of other characters, including Pilar and Anselmo. The thought sequences are an important narrative device to explore the principal themes of the novel.
       In 1941 the Pulitzer Prize committee for letters unanimously recommended For Whom the Bell Tolls be awarded the prize for that year.
       However, Hemingay's artistic depict also has limitation. He is not good at expanding to a more wide society and living things. His heroes is lack of multiple, plenty feature.
      Ⅳ.conclusion.
       Hemingway skillfully portrays the ignorance and lack of seriousness of the soldiers and the general lack of interest in the war. Hemingway makes the danger of such a situation clear when Andres says: "He did not like these people who were like dangerous children; dirty, foul, undisciplined, kind, loving, silly and ignorant but always dangerous because they were armed." Again, we see a stereotypical characterization of the Spaniards.
       At last, I would like to quote the poem at the beginning of the For whom the bell tolls--
       No man is an Iland, intire of it selfe; every man is a peece of the Continent, a part of the maine; if a Clod bee washed away by the Sea, Europe is the lesse, as well as if a Promontorie were, as well as if a Mannor of thy friends or of thine owne were; any mans death diminishes me, because I am involved in Mankinde; And therefore never send to know for whom the bell tolls; It tolls for thee.
       --JOHN DONNE
  •     这本书的评论是不是很难写?那么多条评论里没看到几篇是跟内容有沾边的。对西班牙内战我了解并不多。短短三天里的故事,中译本洋洋洒洒四十万字。也可以说是主人公罗伯特·乔丹——一个思想复杂的青年知识分子在三天里的心灵轨迹。生与死的问题,爱情与战斗职责的矛盾,道德伦理与严酷现实的矛盾交织在一起。
      
      你反对一切杀人的行为,可你既杀过人,而且还要继续杀人。因为要打胜仗就必须多杀敌人。
      
      双方都在屠杀,游击队员绞死长枪党,法西斯分子血洗拥护社会党的村庄。为了自由,尊严和所有人都有工作而不致挨饿的权利,我们对他们也干下了令人发指的暴行,“但那是因为我们缺乏教养,不知道该怎么办,而他们是蓄意地、深思熟虑地干着。”游击队员们射击,投掷手榴弹,炸火车。可是杀掉的人有几个是真正的法西斯分子?那些铁杆儿长枪党们都躲在后方屠杀平民。而在战壕里向我们瞄准的是和我们一样的穷人。联合政府内部也是成分复杂,斗争重重,军队缺少武器装备,指挥不畅。有着种种官僚主义,工作无能。党内的清洗斗争连在国际纵队里也难逃一劫。内部还有第五纵队活动。奥威尔当年志愿参加西班牙内战,身负重伤后回国,还有他的同志因为政见不同要追杀他。
      
      尽管这样,为了所拥护的一切,为了这种感情以及这种必要性,你还是参加战斗,为你接受的教育中所提到的新世界而战斗。然而,有谁能像青年牧师和军人始终保持着忠诚?是我们蜕变了,还是世界并不是我们原先想象的那样?根本没有完美的事业,以前没有,今后也不会有。
      
      我们意识到这一点,但我们并不能心灰意冷,就此投降,还是要接着进攻,继续杀人。因为不这样干战争就要失败。那些行不通的混蛋命令明明会夺去你的命,你也只能去豁出命来坚决执行。是啊,谁也没权夺取别人的生命,可不这样我们自己就要遭到更大的不幸。谁也不想和爱人分别,白白送死,可不这样最终的危险就不会过去。这确实是陈词滥调,但这也是真话。世界上还有什么事情是比战争更坏的呢?
  •     不知道是不是我的阅读能力不足,看这本书时总是昏昏欲睡,虽说该书情节紧凑,但是我总是找不到阅读的兴奋点。。。可能还是不太习惯海明威的语言风格吧,而且对于那段历史也不太了解,看时总是缺少共鸣。。。毕竟文化差异太大,而这本书有与以前看过的战争小说有很大差距,各个人物的特征很鲜明,但是很难让我理解他们的想法,太多的自言自语和心理活动,让我匪夷所思,战争时居然会想这些。。。
  •     已经看了很久了,一直盘旋的是男主角幽怨的表情,女主角悲惨的命运!不知道为什那时候的爱情逃脱了战争却逃不掉命运!当时读完之后只有一种沉重感!
  •     一直很喜欢海明威,但对于这本书,我仅仅给了三颗星,虽然开篇时的《无人为岛》让人会拥有读下去的欲望,但我仅仅给了三颗星。
      说实话,并不是很喜欢这本书,情节不如《永别了武器》,信念感不如《老人与海》,总体上感觉这部作品太过广阔,有人说这部书是海明威投身于人类前途大搏斗的见证,但,我并不是很认同,这种过于耀眼的荣耀与使命感,实在是让人觉得过于虚假,我不是共和主义者……我只是反法西斯主义者……
      整部作品……真的没有给我留下多么深刻的印象……我只是记得,罗伯特说“我跟姑娘说会儿话,我说把她带走时,就把她带走……”
      仅此而已……
  •   被作者的文笔和背后深沉的感情打动。
  •   是评论。原著小说还没看。
  •   No man is an island,
    Entire of itself.
    Each is a piece of the continent,
    A part of the main.
    If a clod be washed away by the sea,
    Europe is the less.
    As well as if a promontory were.
    As well as if a manor of thine own
    Or of thine friend's were.
    Each man's death diminishes me,
    For I am involved in mankind.
    Therefore, send not to know
    For whom the bell tolls,
    It tolls for thee.
  •   “战争实在是个臭婊子”
  •   是啊 世界上还有什么事情比战争更坏呢
  •   传播文明有两种方式,一种是和平,另一种是战争,可是战争还会给生灵带来灾难,这个世界上没有任何人可以决定他人的生死。
  •   是啊,世界上还有什么比战争更坏的呢……
    同样的还有饥饿和仇恨……
  •   三天的心灵史我仿佛读着有三年一样久。现在转向我要来这边写关于海明威所塑造的人物形象中提取出自己的论文观点是一件不容易的事情。
  •   @Troy。我到写读后感的时候才发现原来只有短短三天……
 

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