关于《老人与海》的论文

永不屈服的灵魂——《老人与海》赏析

风吹向空寂的海面，一个孤独的老人拖着疲惫不堪的身子漂泊在茫茫的海面上活像个大战后的勇士。为了治服那条庞大的马林鱼，他已经费下了自己近乎所有的力气。而今，他带着自己捕获的大鱼航行回家，他希望运气的眷顾，可那些不断袭来的鲨鱼却让这个老人在疲累中一次又一次的奋力作战。他什么也顾不得了，他只是想保住他的鱼，哪怕剩下的再少。

海明威让这个老人具有了一种不可征服的精神力量。他一次又一次地用他那双伤痕累累的手将粗陋的武器刺进鲨鱼的头颅。即使最终的结果仍是只剩下那十八英尺的鱼骨架。从老人的身上，我们不难看出海明威想要传达给我们的那种灵魂的尊严。

曾经看过海明威笔下这位老人的原形——他在古巴的好朋友佛恩特斯的照片。他活到104岁，叼着雪茄的手宽大而沧桑，脸上皱缩而斑驳，但深邃的眸子却依然透露着硬朗与坚忍。书中的老人曾说：“人不是为失败而生的，一个人可以被毁灭，但不能给打败。”这正是海明威借老人的口告诉读者的本书的主题吧，我想，从此看来这本书并不是什么寓言而是一部令人折服的现实主义佳作。

书中告诉了我们一个人的极限可以到达如此的程度，但海明威至始至终没有提醒我们他在表现渔夫的精神，赞美渔夫面对挑战从不屈服的灵魂，他是让我们自己去读懂他。或许每个人对这篇文字见解不同，就好像“一千个读者就有一千个哈姆雷特”一样，但当我们翻开书的扉页，就好像打开一个尘封已久的木箱，里面尽藏着珍贵的古器，诉说着曾经的伟岸勇毅，使灵魂洗礼在充满力与美的殿堂中。

海明威曾说：“我总是试图根据冰山原理去写作。关于显现出来的每一部分，八分之七是在水面以下的，你可省略去你所知道的任何东西，这只会使你的冰山深厚起来。这是并不显现出来的部分”。

这是个讲述发生在海洋上的故事，你不免会问，书中的老人，海洋，马林鱼又是代表什么呢？忖度你自己的那个冰山吧，我们每个人都在不断积累着水面以下那八分之七的冰山。随着年龄的增长阅历的增加我们逐渐体味着老人的故事，而今想来，或许我也像是那个漂泊在茫茫海上的老人，我的大海便是那无穷尽的知识的海洋，航行在课堂与图书馆间，而我所捉捕的马林鱼正是那一本本的书吧。有时有着孤立无助的悲凉，有时也有着孤身奋斗的快感。...《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,含义深刻,是一部现实主义的杰作,读后令人回味...
我不知道未来会怎样，我的航行究竟结果如何，但作为一个不被击败的人，你看那太阳总是要落下去的，但是明天——太阳照常升起！

评《老人与海》中海明威写作风格和手法
Contents

Abstract
Abstract (Chinese).
Ⅰ Outline
Topic: Through The Old Man and the Sea display Hemingway unique writing style and technique.
< Ⅰ > Introduction
< Ⅱ > Language Style
1. Analyses of the language Style
2. The forming of the Language Style
3. The influence of the Language Style
< Ⅲ > The Way to Use Facts
< Ⅳ > Conclusion
Note
Bibliography

Abstract
Being distinguished from many greatest American writers, Hemingway is noted for his writing style. Among all his works, The Old Man and the Sea is a typical one to his unique writing style and technique. The language is simple and natural on the surface, but actually deliberate and artificial. Sometimes the simple style is made a little different. The dialogue is combined with the realistic and the artificial. The simplicity is highly suggestive, and often reflects the strong undercurrent of emotion. Occasionally, the author uses some figures of speech. Hemingway’s style is related to his experience as a journalist, his learning from many famous writers, and most importantly, his conscientious effort in looking for a style of his own. The influence of his style is great all over the world.
The Old Man and the Sea is full of facts, most of which comes from Hemingway’s own experience. So the way to use facts is a very important writing technique in this novel. The facts in the novel are selected and used as a device to make the fictional world accepted. In the forepart of the novel, they are used to show the quality of Santiago’s life, and are narrated simply and naturally; while in the latter part of the novel, they are used from inside Santiago’s own consciousness and form part of a whole scheme of the novel.

Keywords: Facts; Simplicity; Artificial; Iceberg Theory

中文摘要
在众伟大的美国作家中，海明威以独特的写作风格而著称。在他所有的作品中，《老人与海》最能体现他独特的写作风格和手法。这部小说语言看似简洁自然，其实包含了作者的精心揣摩和润色加工。有时为了突出某一部分，作者会采用长句代替短句。文中的对话内容真实、贴近生活，而表达形式则经过了艺术加工。小说简洁自然的语言背后隐藏了深刻的意义和感情。文中还运用了比喻、拟人等修辞手法.还名位的这种独特风格与他当过新闻记者的经历有关,同时他兼菜各家之长,自成一体,形成了自己独特的创作方法和艺术风格。这种风格对整个世界文坛产生了重要的影响。
《老人与海》这部小说中运用了大量的事实,他们大多来自于作者亲身经历。海明威对这些事实精心选择,从而吸引读者的兴趣并使读者有一种身临其境的感觉。小说一开始用大量事实描写了主人公生活的环境,叙述风格简洁自然,未加任何感情色彩。随着情节的发展,大量的事实主要被运用于主人公的心理活动之中,而不是主要由作者来叙述。同时,这些事实构成了整个小说体系中不可缺少的一部分。

关键词：
事实；简洁；加工；冰山理论

Hemingway’s Writing Style and Techniques in The Old Man and the Sea
Introduction
The Old Man and the Sea (1952) comes round at the finish of Hemingway’s writing career. With its vivid characterization, its simple language, and the profound implicating it carries, it stands out as one of the excellent books Hemingway’s former stature as the word’s preeminent novelist after Hemingway’s unsuccessful novel Across the River and into the trees (1950). The Old Man and the Sea earned its author the Pulitzer Prize in fiction for 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 catch. Therefore the boy, Mandolin, who used to sail with him, is forced to leave him and catch in another ship. 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 out to sea for 48 hours, with the old man bearing 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 weakened marlin to the surface and harpoons it. On his way home, he lashes marlin alongside his boat because it is too big to be pulled into the boat. But, unfortunately, the come across sharks in different numbers for four times. The old man fights to kill the sharks with 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, reaches the shore and struggles to his shack. He falls into sound sleep, dreaming of Africa, and the lions again. His struggle wins him much respect.
Among many great American writers, Hemingway is famous for his objective and terse prose style. As the last novel Hemingway published in his life, The Old Man and the Sea typically reflects his unique writing style. This paper aims to discuss the writing style and techniques in The Old Man and the Sea. Of course, Hemingway has used many techniques in this novel, such as realism, the creation of suspense, monologue, etc. And this paper focuses especially on the language style and one of the important techniques-the way to use facts in this novel.

Hemingway is famous for his language. With much care and effort, he created a very influential and immediately recognizable style. “The style he created in his early work, such as In Our Time and The Sun also Rises, was almost too good. Like the style of certain painters, it tended to become a manner, rather than a flexible way of responding to experience and conveying fresh insights through words.”1 Among all his works, The Old Man and the Sea is the most typical one to his unique language style. Its language is simple and natural, and has the effect of directness, clarity and freshness. This is because Hemingway always manages to choose words “`concrete, specific, more commonly found, more Anglo-Saxon, casual and conversational.” 2 He seldom uses adjectives and abstract nouns, and avoids complicated syntax. Hemingway’s strength lies in his short sentences and very specific details. His short sentences are powerfully loaded with the tension, which he sees in life. Where he does not use a simple and short sentence, he connects the various parts of the sentence in a straightforward and sequential way, often linked by “and”.
In his task of creating real people, Hemingway uses dialogue as an effective device. It is presented in a form “as close to the dramatic as possible, with a minimum of explanatory comment.”3 Here is an example chosen from The Old Man and the Sea:
‘What do you have to eat?’ the boy asked.
‘No, I will eat at home. Do you want me to make the fire?’
‘No, I will make it later on. Or I may eat the rice cold.’
Here we can see that such interpolations as “he said” have frequently been omitted and the words are very colloquial. Thus the speech comes to the reader as if he were listening. Hemingway has captured the immediacy of dialogue skillfully and has made the economical speech connotative.

But it is good to note that Hemingway’s style is deliberate and artificial, and is never as natural as it seems to be. The reasons are as follows. Firstly, in some specific moments, in order to stand out by contrast and to describe an important turning point or climax, the style is made a little different:
He took all his pain and what was left of his long gone pride and he put it against the fish’s agony and the fish came over on to his side and swam gently on his side, his bill almost touching the planking of the skiff, and started to pass the boat, long, deep, wide, silver and barred with purple and interminable in the water.5
The language in this one-sentence paragraph is different from other parts of the novel. Kenneth Graham has commented that the sentence builds up its parts in a carefully laborious sequence-“all his pain and what was left of his strength and his long gone pride”. It emulates the movement of the exhausted marlin and the physical strain of the old man. And it mounts to a heavy crescendo in the very un-prosaic inversion of adjectives-“long, deep, wide”-ending in the virtually poetic cadence, “interminable in the water.”6

The dialogue, too, is combined with the realistic and the artificial. Usually the content contains and the expression contains the artificial. In The Old Man and the Sea, the language style is very peculiar from Hemingway’s other writings. This is because the novel is an English version of the Spanish that Santiago and Mandolin would speak in real life. “Since we are meant to realize that Santiago and Mandolin could not possibly speak like this, since English is not his tongue anyway, we are more likely to accept other artificialities of the dialogue. Using the device of a pretended ‘translation’, which would be bound to stilt in any case, Hemingway can ‘poetize’ the dialogue as he wishes.”7 The speakers are distanced from readers to a certain degree. And while their language taking on a kind of epic dignity, it does not lose its convincingness. Even slightly strange exchanges like the following become fairly acceptable. For example:
‘You’re my alarm clock’, the boy said.
‘Age is my alarm clock’, the old man said. ‘Why do old man wake so early? Is it to have one longer day?’
‘I don’t know’, the boy said. ‘All I know is that young boys sleep late and hard’.
‘I can remember it’, the old man said. ‘ I’ll waken you in time.’8

The simple sentences and the repeated rhythms hit at the profundities that the surface of the language tries to ignore. Its simplicity is highly suggestive and connotative, and often reflects the strong undercurrent of emotion. Indeed, the more closely the reader watches, the less rough and simple the characters appear. In Death in the Afternoon, Hemingway uses an effective metaphor to describe his writing style:
If a writer of the prose knows enough about what he is writing about, he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water.9
Among all the works of Hemingway, the saga of Santiago is thought as the most typical one to this Iceberg Theory. The author seldom expresses his own feelings directly, nor does he make any comments or explanations. On the contrary, he tries to narrate and describe things objectively and blend his own feelings harmoniously to the natural narration and description this gives readers a pictures compression, from which-the 1/8 of the iceberg above water, they can learn the implying meaning and feelings of the author- 7/8 of the iceberg under water. When Hemingway said of this story, “I tried to make a real old man, a real sea and real sharks”, he then went on to say, “But if I made them good and true enough they would mean many things.”10 So this novel has a great and significance conveyed by a compressed action. The core of the novel’s action is fishing. To the hero, fishing is not simply of contest in life. It contains profound philosophic meaning. In addition, two details-the baseball match and the hand wresting with the Negro, like fishing, symbolize the contention in life. They compensate and enrich the inner meaning of the main plot of fishing. So the simplicity of the novel is highly suggestive.

一篇旧帖（第三部分）
这部作品的背景是一片辽阔的大海。一般说来，用海作为一种显示人和宇宙深切关系的东西是有其现实意义的，因为它蕴含着大量的生命、变化、运动和可能性。在一系列幻灭之后，海明威把桑地亚哥送进了这个背景之中。桑地亚哥经过八十多天的失败，来到了远海；他突破了尼克和亨利探索的界限，突破了传统的人性界限，驶进了能了解和体验不可知的现实奥秘的领域，它的浩大足以使桑地亚哥生存在永恒之中，使他在那里发现了从未见到的大鱼——这实际上象征着一种探索，换句话说，象征着对某种超越生存的价值的发现。接下去，桑地亚哥就试图与马林鱼结合在一起；他渴望着，甚至不惜一死：
“老头儿想：鱼啊，你要把我给弄死啦。话又说回来，你是有这个权利的。兄弟，我从来没见过一件东西比你更好看，更沉着，更崇高了。来，把我弄死吧。管他谁弄死谁。”
桑地亚哥对马林鱼的赞美，充分显示了他的发现具有的价值，这价值是超过他的生命的。而且，如果桑地亚哥没有经历八十多天的失败，没有最终离开湾流驶进远海，他是不可能发现这条马林鱼的。他爱着这条鱼，但仍决心要杀死它：
“鱼啊，我爱你，而且十分尊敬你。可是，我要趁这一天还没过去的时候把你弄死啊。”
桑地亚哥违抗了自己的感情，怀着爱，狠狠地投出了鱼叉——这是海明威一个深刻的发现，至少在他以往的作品里这样的描述是不多见的。在那里，爱常常被表现为一种单纯的结合，一种平静的和谐；但现在，爱的结合却成了一种本身就隐含着对立并只有通过对立才能得以实现的东西。海明威不无见地的看到：即便是爱情这样美好的东西，也是依赖于冲突的；换句话说，正是种种对抗的力量，构成了海明威笔下的世界。
桑地亚哥杀死了马林鱼，把它和船拴在一起：
“看它闭着嘴，尾巴一上一下的伸的挺直，我俩真像亲兄弟一样，在大海里漂着。这时，他的脑子又有点糊涂了，他想：是它在带着我走呢，还是我在带着它走？……可是老头儿跟它是并排拴在一道，飘在海上的。”
这或许是海明威最有启发性的描述，至少他在肯定了冲突的必然性后，又告诉人们，基于这些局部的激烈冲突之上的普遍和谐并非是一种假设。事实上，无论是桑地亚哥还是马林鱼，都在执拗地与对方抗争着，内心和肉体都经受了极大的磨难，但最终他们还是并排拴在一道，飘在海上，寓于大海的和谐之中。正如桑地亚哥由衷的爱着马林鱼，但又不断地意识到自己是个打鱼的，要把鱼杀死一样，从一定意义上讲，他正是在实现与大海的和谐，海明威肯定了这种和谐的可能，并通过桑地亚哥似乎与行动分裂的意识不断地暗示这种和谐的对立性质和意义。如：桑地亚哥对罪过的意识，对马林鱼爱的意识，对死亡的意识——这一切最终都不可抗拒的服从了行动，消融在和谐里。同时，正是通过桑地亚哥的种种意识使海明威的人性观得以进一步展现：在桑地亚哥身上，爱与恨、生与死、善与恶的分野已不存在，即使存在，也是一种没有意义的东西，而真正被当成人的本质肯定的，则是对普通和谐的渴望和在冲突中实现和谐的抗争力。虽然，这种和谐似乎只是一种理想的，存在于超验领域的东西，但海明威相信，在经验的现实领域里它将有着极大的意义。
桑地亚哥开始返航，返回有限的人性领域；这时，鲨群扑了过来，桑地亚哥与之展开了拼搏——这是一场在有限领域里为维护远海收获而进行的拼搏，也是一个考验。桑地亚哥明明知道不可能取胜，但还是热切的呼唤着：
“来，黑鲨，来吧，黑鲨。”
在远海，桑地亚哥曾因为爱马林鱼，渴望与它结合而呼唤过死亡，那时，它似乎仅仅是一种激情观念，一种超越生命的生存，远非是一个事实。但现在，面临着打不尽的鲨群，面临着无望的拼搏，死亡已具有了很大的现实性。然而，同样明显的是，现在主宰桑地亚哥的并不是对死亡的恐惧，而是对自身，对宇宙法则的关注。他希望能撑下去，就像他失败后仍去梦见狮子一样，他要求自己能够保持那种紧张的内心节奏和不屑的拼搏力。关键不在于取胜，而在于没有终点的持续最大的拼搏力。在桑地亚哥的时间意识里，既没有过去，也没有将来，仅仅有现在，连续的永恒的现在：
“他想：我现在还有什么事可想呢？没有。什么也别去想它，只能等着以后的鲨鱼来吧。”
每一瞬间都是起点——显然，这种极度紧张的抗衡是严酷的，每一个起点都预示着突然的崩溃。桑地亚哥累乏了，里里外外都累乏了；他的身体又痛又僵，他的伤口和身上一切用力过度的部分都疼得厉害。他意识到死亡：
“人尽可被消灭，但就是打不败。”
桑地亚哥不肯妥协，他的执拗加速了自己的毁灭——在这里，人的信念作用和铁一样的意志力被推到了顶端，甚至具有了某种自我毁灭性质。但是，这种毁灭毕竟是有目的的：桑地亚哥的牺牲是对最终和谐的献祭。实际上，海明威在赤裸裸的描写一个对死亡的冲刺，这冲刺，至少在过去一直使他绝望和痛苦，但现在，他却具有着全新的，甚至是相反的性质。死亡是必然的，但对它的肯定并不意味着对生存的否定，他们的对立是通过对人生价值这个最终目的达到统一的——这也许是海明威最重要的发现，正是这一发现使桑地亚哥敢于并且能够对死亡挑战。
马林鱼被鲨群吞噬着，老人只带回一副白条条的骨架。这是一个很有含义的结局，进一步揭示了桑地亚哥收获的本质：他既不是一种物质形态，又不是行动的外部结果，仅仅是桑地亚哥的内心体验，是他通过行动新获得的深刻体验。桑地亚哥的失败就其本质来说是一个胜利，因为他的目的既不是把马林鱼带回港湾，也不是要大量的杀死鲨鱼，这些都不相干；他的目的恰巧就是行动本身。正因为他挺下去了（还会挺下去的，他梦见狮子就是一个暗示），尽到了一个宇宙存在物的职责，为最终秩序做了贡献，他才得以与宇宙相融，使自己的生存具有了意义。值得重复的是，桑地亚哥的生存意义既不依赖于外部形式，又不依赖于行动结果，他与尼克和亨利不同，他仅仅是通过自身来获得这种意义的。
海明威终于以桑地亚哥的最终觉醒结束了他漫长的探索，尽管其结果是用深奥的寓言方式表现出来的，但仍具有鲜明的意义。它绝不仅仅是一部描写人与自然界战斗的小说，而是一部探索人生价值的最终记录。此时的桑地亚哥，已不是早年的亨利或尼克了，他的行动超出了他们的界限，它没有像他们那样从杂乱的毫无意义的生存里逃脱，而是接受了这个充满冲突的世界，走向暴烈的人生。保尔?萨特说：生活，并不具有先验意义；生活在你未出生之前，是一无所有。这时，给予生活一种意义，乃是你的责任。所谓价值，就是你所挑选的意义。尼克没有意识到这一点，亨利也没有，他们只是把自己的生存依附于那个世界，依附于他人或外部，他们的悲剧是必然的。而桑地亚哥意识到了，他的觉醒不仅仅在于把生存的责任赋予自我，还在于他敢于把生存与冲突联系在一起。意义的观念是与冲突并存的。
实际上，海明威已开现代美学之先河，把美与和谐看成一种对立性运动，看成一个过程。正是基于这种美学观念，使他超越了对传统善恶的一般探讨，而去追求一种具有抗争意义的人生观。这种追求有着重大的现实价值：在那个充满了动荡和毁灭的时代里，仅靠着对那种柔弱的美和善的沉醉是不够的，它往往会使人在重压下流于绝望和虚无。而海明威讴歌的则是：崩溃中的探索，重压下的坚持——这才是美的真实含意；只有这样，人生才成为可能。
的确，海明威不愧为一个典范，因为无论在怎样严酷的环境下，他都没有放弃对真理和美的热情渴望，没有放弃对人类价值的信念。他用他的行动告诉人们：主宰人生的并不是毁灭和对种种毁灭的恐惧，在这之上，还有一种更加强有力的东西，人类对真理的信念和为之奋斗的勇气；关键是，要敢于接受暴烈的人生，在拼搏中获得生存意义。尤金?奥尼尔曾说过这样的意思：或许，人生并无意义可言，但正因为人类有着的执着的追求，才赋于了人生以和意义。尽管海明威或许还有着他的局限性，尽管他的最终和谐只是一种超验理念，但他的追求本身就使他的生存有着无比的尊严和价值。海明威照自己说的做了：战斗，为人类高尚的生存权利而战斗。
——节选自新浪博客一个博主的文章。

《老人与海》读后感
今天中午，我读了美国著名作家海明威的小说《老人与海》。我十分佩服小说中老渔夫的意志，他让我懂得了一个人一定要有坚持不懈的精神，才能获得成功。
小说描写的是一个年近六旬的老渔夫，在一次单身出海打鱼时，钓到了一条大鱼，却拉不上来。老渔夫同鱼周旋了几天后，才发现这是一条超过自己渔船数倍的大马林鱼，虽然明知很难取胜，但仍不放弃。后来又因大马林鱼伤口上的鱼腥味引来了几群鲨鱼抢食，但老人仍不愿就这样放弃，最终突出重围，将大鱼带回了渔港，让其他渔夫佩服不已。
当我读到“老渔夫想：这里离海岸实在是太近了，也许在更远的地方会有更大的鱼……”时，我十分佩服这位老渔夫，因为他这时已经打到了一些鱼，但他没有安于现状，而是向着更大的目标前进。再看看我们，平时遇到一点小困难，我们都叫苦连天。我们是祖国的未来，应该像这位老人一样胸怀大志，去追求更好、更大的目标。
当我读到“大马林鱼开始快速地围着小渔船游动，将缆绳缠绕到了桅杆上，老人右手高举着钢叉，在它跃出水面的一瞬间，竭尽全力地向它的心脏掷去，一声哀鸣结束了大鱼的生命，它静静地浮在水面上……”时，我的心也像一块大石头落了地。我非常钦佩老人那种毫不畏惧、坚持不懈的精神，虽然知道对手实力很强，但他没有丝毫退缩，而是迎难而上。正因为有了这种精神，老渔夫才获得了这场生死较量的胜利。我们在生活中也要学习老渔夫的精神，做事情不怕困难，才能取得成功。
在读到大鱼的血腥味被一群鲨鱼嗅到了，争相游来抢食，老人的左手正好在抽筋，他只能使用右手，用木棒、捕到的剑鱼的嘴等一切可以用来攻击的武器自卫，并最终赶走了这群鲨鱼。但大鱼的肉已经被吃了一大半，而老人还风趣地批评自己的左手“该工作的时候却在休息”的时候，我也被老人乐观的精神所折服。在生活中，有些损失是不可避免的，我们应该以乐观的态度来对待，不能斤斤计较。
最后，小说以一个少年看到老渔夫在度量足有十八英尺长的大马林鱼，再次描写了这条鱼的巨大，说明老渔夫所克服的困难之大，非比寻常。
小说歌颂了老渔夫不畏艰险努力奋斗的精神，我们也应该像他那样，不能满足于现状，应该积极向上，做任何事都要坚持不懈，遇到困难要迎难而上，决不能半途而废。只有这样，我们才能获得更大的成功和胜利