求遠(yuǎn)離塵囂 英語讀后感

遠(yuǎn)離塵囂 英語讀后感I have read a book named Harry Potter,the famous novel around the world.The writer created a wonderful and magical world,which is loved by all children in the world.What I gained from the book is that you should have a good heart and not be afried of any difficulties.To be a brave and good person,halping the one who is in trouble.Not only the people but the details in that book give me a deep image.I hope that if you have a chance to read it,you will like me,loving it.

英文作文題目

Cherishing Every Minute of Life --After Reading If Had Three Days to SeeWe can't imagine living in a world without light and sound,so we can't perceive the spiritual world of disabled people who are blind,deaf or even dumb.Have you ever thought if we lose our eyeslight and hearing one day ,how can we live the rest of our life ?Heller Keller in her famous essayIf I Had Three Days to Seegives us her answer.After reading the essay,Iwas deeply moved by Heller's spirit.Heller was blind ,deaf and dumb.She suffered much from such a great misfortune in her childhood,but her inner world was very rich.She longed for three day's lights to feel the world.She would like to see people who gave her love and friendship.In order to know the soul of human ,she planned to appreciate opera and literature.She intended to experience people's daily life.I regret having done something unvaluable and hardly realizing the lazy live attitude in the past.Now,I understand we should cherish every minute of our lifetime.That is to say,make good use of every sence to feel the world and enrich your life.Be pround of everything wonderful and pleasant the world shows! 這是《假如給我三天光明》的讀后感。

《遠(yuǎn)離塵囂》的主要內(nèi)容

《不能承受的生命之輕》讀后感 曾在一部講述大學(xué)四年生活小說中提到米蘭?昆德拉《不能承受的生命之輕》，近日閱讀之后思緒萬千。

第一遍，覺得很膚淺、庸俗、不可思議，自小就受儒家思想教育，宣揚(yáng)欲望是格格不入的，情節(jié)是一個(gè)名叫托馬斯的醫(yī)生去鄉(xiāng)下診療，在酒吧遇到一個(gè)侍女特蕾莎，從此，兩個(gè)磕磕碰碰走在一起，同時(shí)畫家薩麗娜是托馬斯情人，而薩麗娜與大學(xué)教授弗蘭茨也是情人關(guān)系，以一言以蔽之：第一遍是四人之間的感情糾葛。

第二遍，梳理了小說情節(jié)，它是我所閱讀中最獨(dú)特的邏輯構(gòu)思小說，以蒙太奇方式，跨越時(shí)間、地點(diǎn)，同一件事在不同章節(jié)中以不同側(cè)面反復(fù)提及。

第三遍，查閱相關(guān)資料，了解小說情節(jié)發(fā)生在1968年蘇聯(lián)入侵捷克時(shí)期為時(shí)代背景，發(fā)生的“布拉格之春”事件，“兩千字宣言”，不同側(cè)面描繪出捷克知識(shí)分子的生活狀況。

第四遍，把主要事件串珠在一起，聯(lián)系四個(gè)人生活遭遇， 特蕾莎屬于生命之重人物，她對(duì)愛情的忠貞與信念，對(duì)丈夫的寬容和忍受，在幸福之中充盈著憂慮，不斷考驗(yàn)著丈夫是否依然愛著她，在生命之重壓力之下，蘊(yùn)藏著無盡的悲哀和孤獨(dú)，將精神寄托于卡列寧（一條狗）。

托馬斯是一個(gè)生命之輕人物，對(duì)女人具有強(qiáng)烈獵奇心理，對(duì)性的追逐，不斷給特蕾莎帶來巨大傷痛，其實(shí)，托馬斯內(nèi)心深處對(duì)特蕾莎蘊(yùn)藏著深深的愛，人性的肉體與靈魂兩重性矛盾凸現(xiàn)出來。

托馬斯對(duì)希臘神話俄狄浦斯人生故事引發(fā)思考，并將看法投向頗有尖銳的雜志，在讀者來信中刊發(fā)了，他不斷受到各種壓力，但拒絕收回刊發(fā)的思想，因而他失去醫(yī)生這份工作，最后遠(yuǎn)離塵囂、逃避現(xiàn)實(shí)，與特蕾莎居住于清凈、安寧的鄉(xiāng)村之處。

薩比娜是具有強(qiáng)烈的背叛現(xiàn)實(shí)、爭強(qiáng)好勝、富有激情生命之輕人物，薩比娜人生的主題在反復(fù)出現(xiàn)、重演、修正和延展，她腳下如同一條漫長的背叛之路，每一次新的背叛，就像一樁罪惡又像一場(chǎng)勝利，時(shí)刻在誘惑著她。

最初背叛父親（禁止愛情），共產(chǎn)主義藝術(shù)（禁止畢加索），丈夫（一個(gè)平庸的演員），愛情（托馬斯、弗蘭茨）。

當(dāng)一切背叛之后，生命出現(xiàn)了極度空虛。

弗蘭茨是個(gè)聰明、正直、善良卻又充滿軟弱之人，對(duì)來自富有激情的薩比娜充滿好奇，猶如劉姥姥踏進(jìn)大觀園，陷得無法自拔，通過薩比娜獲得了新生和自由，他滿足了塵世間情人愿望，但缺少天堂之愛，他追逐夢(mèng)想到柬埔寨邊境，死于搶劫的毛賊，死得輕于鴻毛。

小說是米蘭?昆德拉以生命輕重二元論來觀察世界，審視靈魂，詮釋生命的真諦。

前不久，看完了米蘭昆德拉寫的《不能承受的生命之輕》，一直都想寫一點(diǎn)讀后感，一點(diǎn)點(diǎn)都行。

但是，思考了這么久，真的不知道寫什么好。

說實(shí)話，我沒有看懂

我看書并不多，但唯獨(dú)這一次，連小說里的故事都不是很明白，唯一能記住的就是幾個(gè)簡單的人物的名字和一條狗的名字。

這篇小說，不是單純的為講故事而講故事，故事只是其中的載體。

最主要的，是里面有許多高深莫測(cè)的哲學(xué)語言，因?yàn)檎軐W(xué)語言，加深了小說的思想深度。

原來偶爾聽說過這本小說的名字，聽說也很出名。

看這本書，并不是為了炫耀自己能看多么高深的書，懂得多么淵博的知識(shí)、哲理，純粹是因?yàn)閺木W(wǎng)上買書，無意看見了，便買了。

當(dāng)時(shí)并不知道里面到底講了什么，心想，既然那么出名，可能有它出名的原因，不妨看看，結(jié)果……剛開始看不懂，可能是因?yàn)椴贿m應(yīng)作者的寫作風(fēng)格，人物對(duì)話，故事情節(jié)，事情發(fā)展順序，作者完全不考慮，以為看久了會(huì)適應(yīng)，沒想到，硬著頭皮看完了，腦子里卻沒有一個(gè)大致的輪廓，悲哀

唯一給我印象深刻的是最后一章，名字叫做卡列寧的微笑。

書的前面講到卡列寧是托馬斯和特雷莎的狗，那換個(gè)思維想，也叫做狗的微笑。

從一個(gè)臨死的狗的身上，看出人心是如此的脆弱不堪，也從來沒見過哪個(gè)作者能將一條狗，而且是臨死的狗寫得如此出神入化，但還是沒有理解到和題目有什么關(guān)系。

生命之輕到底是什么

為什么不能承受

承受了又怎樣

我有一大堆的問題想問，也有一大堆的問題不知道怎么問

我還理解不了作者想要表達(dá)的東西

感覺這本書，要經(jīng)歷過一定人生閱歷的人，才看得懂。

等我有一定人生閱歷了，再重新翻閱，期盼這一天的到來

世界名著英文版讀后感

The novel opens with the famous line, It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.. and ends with two marriages: Jane and Bingley's, as well as Darcy and Elizabeth's. Both couples are assumed to live happily ever after.Elizabeth (Lizzy) Bennet is the core of the family. Elizabeth is the second of Mr. and Mrs. Bennet's five daughters, and is an intelligent, bold, attractive twenty-year-old when the story begins. In addition to being her father's favourite, Elizabeth is characterized as a sensible, yet stubborn, woman. Misled by his cold outward behaviour, Elizabeth originally holds Mr. Darcy in contempt. However, she finds that Mr. Darcy improves on acquaintance, more so than she would expect.Fitzwilliam Darcy (commonly known as Mr. Darcy) is the central male character and Elizabeth's second love interest in the novel. He is an intelligent, wealthy, extremely handsome and reserved 28-year-old man, who often appears haughty or proud to strangers but possesses an honest and kind nature underneath. Initially, he considers Elizabeth his social inferior, unworthy of his attention, but he finds that, despite his inclinations, he cannot deny his feelings for Elizabeth. His initial proposal of marriage is rejected because of his pride and Elizabeth's prejudice against him; however, at the end of the novel, after their relationship has blossomed, he is happily engaged to a loving Elizabeth.Role of women in the 18th centuryIn late-18th-century England, women were relegated to secondary roles in society with respect to property and social responsibilities. For example, women were not permitted to visit new arrivals to the neighbourhood (such as Mr. Bingley in Pride and Prejudice) until the male head of their household had first done so. Women were under enormous pressure to marry for the purpose of securing their financial futures and making valuable social connections for their families. Therefore, marriage, though romanticised, was in many ways a financial transaction and social alliance rather than a matter of love. Although Jane Austen did not condone loveless marriages (she stayed single all her life), she did approve of matches having equality in various respects, including wealth, social status, love and character. In Pride and Prejudice, wealth, social status, chastity (and the perception of chastity) and physical attractiveness are depicted as factors affecting a woman's chances for a good marriage.Published in 1925, The Great Gatsby became an immediate classic and propelled its young author to a fame he never again equalled. The novel captured the spirit of the Jazz Age, a post-World War I era in upper-class America that Fitzgerald himself gave this name to, and the flamboyance of the author and his wife Zelda as they moved about Europe with other American expatriate writers (such as Ernest Hemingway). However, Gatsby expresses more than the exuberance of the times. It depicts the restlessness of what Gertrude Stein (another expatriate modernist writer) called a lost generation. Recalling T. S. Eliot's landmark poem The Wasteland (1922), then, Gatsby also has its own valley of ashes or wasteland where men move about obscurely in the dust, and this imagery of decay, death, and corruption pervades the novel and infects the story and its hero too. Because the novel is not just about one man, James Gatz or Jay Gatsby, but about aspects of the human condition of an era, and themes that transcend time altogether, it is the stuff of myth. Gatsby's attempts to attain an ideal of himself and then to put this ideal to the service of another ideal, romantic love, are attempts to rise above corruption in all its forms. It is this quality in him that Nick Carraway, the novel's narrator, attempts to portray, and in so doing the novel, like its hero, attains a form of enduring greatness.The novel is narrated in retrospect; Nick is writing the account two years after the events of the summer he describes, and this introduces a critical distance and perspective which is conveyed through occasional comments about the story he is telling and how it must appear to a reader. The time scheme of the novel is further complicated as the history of that summer of 1922 contains within it the story of another summer, five years before this one, when Gatsby and Daisy first courted. This is the story that Jordan tells Nick. As that earlier summer ended with Gatsby's departure for the war in the fall, so the summer of Nick's experience of the East ends with the crisis on the last hot day (the day of mint juleps in the hotel and Myrtle Wilson's death) and is followed by Gatsby's murder by George Wilson on the first day of fall. This seasonal calendar is more than just a parallel, however. It is a metaphor for the blooming and blasting of love and of hope, like the flowers so often mentioned. Similarly, the novel's elaborate use of light and dark imagery (light, darkness, sunshine, and shadow, and the in-between changes of twilight) symbolizes emotional states as well.紅字The Scarlet Letter attained an immediate and lasting success because it addressed spiritual and moral issues from a uniquely American standpoint. In 1850, adultery was an extremely risqué subject, but because Hawthorne had the support of the New England literary establishment, it passed easily into the realm of appropriate reading. It has been said that this work represents the height of Hawthorne's literary genius; dense with terse descriptions. It remains relevant for its philosophical and psychological depth, and continues to be read as a classic tale on a universal theme.[6] Another consideration to note having to do with the book's popularity is that it was one of the first mass-produced books in America. Into the mid-nineteenth century, bookbinders of home-grown literature typically hand-made their books and sold them in small quantities. The first mechanized printing of The Scarlet Letter, 2,500 volumes, sold out immediately, was widely read and discussed to an extent not much experienced in the young country up until that time. Copies of the first edition are often sought by collectors as rare books, and may fetch up to around $6,000 USD.遠(yuǎn)離塵囂Much of the plot of Far from the Madding Crowd depends on unrequited love — love by one person for another that is not mutual in that the other person does not feel love in return. The novel is driven, from the first few chapters, by Gabriel Oak's love for Bathsheba. Once he has lost his farm, he is free to wander anywhere in search of work, but he heads to Weatherbury because it is in the direction that Bathsheba has gone. This move leads to Oak's employment at Bathsheba's farm, where he patiently consoles her in her troubles and supports her in tending the farm, with no sign he will ever have his love returned.This novel focuses on the way that catastrophe can occur at any time, threatening to change lives. The most obvious example occurs when Oak's flock of sheep is destroyed by an unlikely confluence of circumstances, including an inexperienced sheep dog, a rotted rail, and a chalk pit that happens to have been dug adjacent to his land. In one night, Oak's future as an independent farmer is destroyed, and he ends up begging just to secure the diminished position of a shepherd.This novel offers modern readers a clear picture of how important social position was in England in the nineteenth century and of the opportunities that existed to change class, in either direction. In the beginning, Oak and Bathsheba are social equals: he is an independent farmer who rents his land, and she lives on her aunt's farm next door to his, which is presumably similar in value. The only thing that keeps her from accepting his proposal of marriage is the fact that she just does not want to be married yet. After Oak loses his farm and Bathsheba inherits her uncle's farm, there is little question of whether they can marry — their social positions are too different. She is more socially compatible with Boldwood, who owns the farm next to hers and is in a similar social position.

從今天開始，做個(gè)幸福的人。

我有一棟房子，面朝大海，春暖花開求大神幫助

《面朝，春暖花開》詩歌 作者:海子 從明，做一個(gè)幸福的人 喂馬，劈周游世界 從起，關(guān)心糧食和蔬菜 我有一所房子，面朝大海，春暖花開 從明天起，和每一個(gè)親人通信 告訴他們我的幸福 那幸福的閃電告訴我的 我將告訴每一個(gè)人 給每一條河每一座山取一個(gè)溫暖的名字 陌生人，我也為你祝福 愿你有一個(gè)燦爛的前程 愿你有情人終成眷屬 愿你在塵世獲得幸福 我只愿面朝大海，春暖花開 英文版本： Facing the sea with spring blossoms By Hai Zi From tomorrow on, I will be a happy man; Grooming, chopping, and traveling all over the world. From tomorrow on, I will care foodstuff and vegetable, Living in a house towards the sea, with spring blossoms. From tomorrow on, write to each of my dear ones, Telling them of my happiness, What the lightening of happiness has told me, I will spread it to each of them. Give a warm name for every river and every mountain, Strangers, I will also wish you happy. May you have a brilliant future! May you lovers eventually become spouse! May you enjoy happiness in this earthly world! I only wish to face the sea, with spring flowers blossoming 創(chuàng)作背景： 這首被熱愛海子的人們格外喜愛的《面朝大海，春暖花開》寫于1989年1月13日。

兩個(gè)月后，1989年3月26日，海子在河北省山海關(guān)附近臥軌自殺。

這一事件，使得這首詩表面的輕松歡快與實(shí)際內(nèi)涵之間產(chǎn)生了某種分離。

也許，正是從這首詩中，我們得以窺見詩人最后的生存思考。

這個(gè)用心靈歌唱著的詩人，一直都在渴望傾聽遠(yuǎn)離塵囂的美麗回音，他與世俗的生活相隔遙遠(yuǎn)，甚而一生都在企圖擺脫塵世的羈絆與牽累。

20世紀(jì)80年代特殊的精神氛圍，海子是一個(gè)與之密切相關(guān)的文化象征，代表了某種價(jià)值理念和精神原型：以超越現(xiàn)實(shí)的沖動(dòng)和努力，審視個(gè)體生命的終極價(jià)值，質(zhì)疑生存的本質(zhì)和存在的理由為核心的激進(jìn)的文化姿態(tài)和先鋒意識(shí)。

內(nèi)容簡介： “從明天起，做一個(gè)幸福的人”，似乎表明詩人要在塵世營造幸福的生活，但詩人又用實(shí)際行動(dòng)拒斥了對(duì)生活的介入——這首詩，如果和詩人的具有詩歌史文本意義（或是作為詩歌文本的一種完成）的行為相比較，兩個(gè)文本之間構(gòu)成反諷式的分裂。

在這首詩里，純樸直白的詩句、清新明快的意象未能遮蔽詩人對(duì)于“幸福”的抒寫中的內(nèi)在分離和矛盾，對(duì)“幸?！钡谋硎鲈谠姼枨榫w的延伸中產(chǎn)生了歧變。

而詩中的自我申訴也構(gòu)成反諷式的消解，呈現(xiàn)出詩人的生存及思考中無法逾越的困惑。

“從明天起”表示時(shí)間上的斷裂，和過去、現(xiàn)在形成間隔，似乎意味著姿態(tài)和目光的轉(zhuǎn)移；“從明天起”，語氣的斷然，像一個(gè)單純的少年在下決心：“從明天起，我要如何如何……”然而詩人已選擇了的理性自覺的心靈探索無法輕松地中斷。

“做一個(gè)幸福的人”，作為一個(gè)具有自主自為能力的人，詩人自然有選擇生活的自由，他可以選擇去感受“幸?！薄?/p>

這里的“幸?！北幌薅ㄔ谌粘Ｉ畹囊饬x范圍內(nèi)，主要指向滿足日常欲望（物質(zhì)的以及情感的）、享受世俗快樂，例如“喂馬”、“劈柴”、“周游世界”、與親人通信，等等。

可以在“關(guān)心糧食和蔬菜”的過程中，感受日常生活本身包含的享受物質(zhì)快樂、使人休閑放松的內(nèi)容，欲望的滿足具有接近幸福感的可能。

從詩句表層含義看，似乎詩人正走出自我的心靈重軛，試圖理解、接受、融入“每一個(gè)人”所能理解的“幸?！敝?；但同時(shí)又矛盾重重。

在詩人心目中，這種“幸?！备嗍且环N被體驗(yàn)的過程，它距離詩人苦苦追尋的理想境界仍很遙遠(yuǎn)——“幸?！痹谶@里仍然是一個(gè)等同于世俗快樂的、在“塵世”中被追尋的東西（過程）。

“我要做遠(yuǎn)方的忠誠的兒子\\\/和物質(zhì)的短暫情人”（《祖國，或以夢(mèng)為馬》）的詩人不會(huì)停留、滿足于此。

這一點(diǎn)在第三章中得到明示。

“告訴他們我的幸?！保案嬖V”意味著溝通，和人們交流、討論關(guān)于幸福的感受和體驗(yàn)，沒有了“每一陣風(fēng)過\\\/我們都互相致意\\\/但沒有人\\\/聽懂我們的言語”（舒婷《致橡樹》）的清高和孤傲；“那幸福的閃電告訴我的\\\/我將告訴每一個(gè)人”，精煉地表述了一種體驗(yàn)：我們所能感受到的“幸?！?，往往是在一瞬間，如同閃電一般的短暫；而就在“幸福”的那個(gè)瞬間，那種感受是如同閃電般的直擊心靈，帶來巨大的沖擊。

這樣的激情甚至引發(fā)了詩人要給每一條河每一座山取個(gè)“溫暖的名字”的浪漫想象與沖動(dòng)，顯示了一種“走近”、“親近”的姿態(tài)。

“在海子看來，由于現(xiàn)代文明的畸形，人們無論是在他們所處的時(shí)代還是在他們關(guān)乎歷史的記憶的情境中，都日益喪失了對(duì)生命作為一種奇跡的感受能力。

所以，他認(rèn)為自己有責(zé)任通過詩歌來幫助我們恢復(fù)對(duì)生命的感受力。

洋溢在海子的抒情詩中的種種奇妙而熱烈的情感，都與這種審美判斷有關(guān)。

”（臧棣《向神話致意》）。

因而，這種親近，更多是在與自我生命的內(nèi)在意識(shí)對(duì)話，通過這種方式，詩人關(guān)心的仍是抽象的命題（這些抽象的命題和思考同樣普遍存在于他的詩歌創(chuàng)作和詩歌觀念的表述中），具有形而上的指向和自賦的使命感和神圣感，在表面的親近中透著本真的孤絕。

“我有一所房子，面朝大海，春暖花開”，詩人想象自己有這樣一個(gè)既可以喂馬劈柴關(guān)心糧食蔬菜的房子（在現(xiàn)實(shí)生活——塵世中的位置），又有一個(gè)超離生活之外，眺望大海（超越塵世的理想彼岸）的姿態(tài)和空間。

也許，就像他喜愛的梭羅，在瓦爾登湖畔擁有的那座木屋。

這句話在詩的首章末尾出現(xiàn)，表達(dá)了既能融入塵世的日常幸福，又保持作形而上之觀照和思考的愿望；但在第三章末尾，同樣的句子，加了“我只愿”這一表示祈使的詞語，卻表達(dá)了另外一種選擇，面朝大海，同時(shí)就是背對(duì)塵世，他將“在塵世獲得幸福”的祝福贈(zèng)予“陌生人”（或者說是“每一個(gè)人”），自己還是堅(jiān)守自我的空間和姿態(tài)。

“春天”，“春暖花開”都是詩人對(duì)“幸?！鄙畹南胂笾?；“春天”帶來“光明的景色”，這是渴望“復(fù)活”的詩人（《春天，十個(gè)海子全部復(fù)活》）想走進(jìn)的。

在關(guān)于“幸福”的感受和想象里，“馬”同樣是不可或缺的：“我無限的熱愛著新的一日\\\/今天的太陽 今天的馬 今天的花楸樹\\\/使我健康 富足 擁有一生\\\/從黎明到黃昏\\\/陽光充足\\\/勝過一切過去的詩”（《幸福的一日——致秋天的花楸樹》）。

但是，“馬”在海子詩中又有特別的象征意義，他喜愛以“馬”作為自己到達(dá)理想之境的載體，如“我要做遠(yuǎn)方的忠誠的兒子\\\/和物質(zhì)的短暫情人\\\/和所有以夢(mèng)為馬的詩人一樣\\\/我不得不和烈士和小丑走在同一道路上\\\/萬人都要將火熄滅 我一人獨(dú)將此火高高舉起\\\/此火為大 開花落英于神圣的祖國\\\/和所有以夢(mèng)為馬的詩人一樣\\\/我借此火得度一生的茫茫黑夜”（《祖國，或以夢(mèng)為馬》）；“青海湖上\\\/我的孤獨(dú)如天堂的馬匹\\\/(因此, 天堂的馬匹不遠(yuǎn))”（《七月不遠(yuǎn)》）等等，“馬”有時(shí)成為詩人高蹈理想的人格映證：“在長長的，孤獨(dú)的光線中\(zhòng)\\/只有主要的在前進(jìn)\\\/只有主要的仍然在前進(jìn)\\\/沒有伙伴\\\/沒有他自己的伙伴\\\/也沒有受到天地的關(guān)懷”（詩劇《太陽》）。

因此，“馬”在詩中出現(xiàn)，暗示著對(duì)塵世幸福留有懷疑，即刻準(zhǔn)備出走的“先行者”姿態(tài)。

綜觀全詩，詩人對(duì)“幸?！钡氖銓懹幸粋€(gè)潛在的轉(zhuǎn)移過程：在第一節(jié)，抒情主人公的簡潔明快的表白“從明天起，做一個(gè)幸福的人”似乎宣告了他面向塵世，開始了一系列的體驗(yàn)式的行動(dòng)：喂馬、劈柴、周游世界，關(guān)心糧食蔬菜等等；第二節(jié)詩人表述了“幸?！蓖且环N瞬間的強(qiáng)烈體驗(yàn)，“幸福的閃電”，類似于本雅明描述的那種引起“震驚”感的“體驗(yàn)”（《發(fā)達(dá)資本主義時(shí)代的抒情詩人》）；騎馬周游世界（或這樣的想念），甚或僅僅是關(guān)心糧食蔬菜，都會(huì)對(duì)尚未真正完全投入現(xiàn)世生活的詩人帶來種種新奇的、觸動(dòng)平常心的體驗(yàn)。

此在的“幸?！笨梢匝哉f，是共同的經(jīng)驗(yàn)，可以與他人交流、共享。

而幸福的閃電所能告訴詩人的，詩人將樂于和別人分享的，本身不具備建立在個(gè)體獨(dú)立而艱辛的探索基礎(chǔ)上的獨(dú)特意義，也無法從中實(shí)現(xiàn)主體意識(shí)。

到了第三節(jié)，詩人最終從對(duì)幸福的渴望中間離出來，將自我和幸福的追求者區(qū)分開：“陌生人，我也為你祝?！薄霸改恪薄?/p>

“給”、“為”、“愿”都是表達(dá)祈愿、施與的動(dòng)詞，表明了詩人真誠祝福他人，但自己選擇了離開、不介入、拒絕被塵世滲透的姿態(tài)和生存方式。

詩中的“你們”最終變成了“他們”，成為對(duì)“他者”的觀照。

在詩的起首的那種對(duì)“幸?！钡目释?，以及“幸?！钡乃?，在詩中被不斷地延宕和消解。

生存和經(jīng)驗(yàn)的封閉、局限狀態(tài)，會(huì)助長現(xiàn)實(shí)虛空感；或者詩人只能將自己的存在懸系于形而上的層面上，和對(duì)于“幸?！钡南胂蟾惺鼙容^起來，詩人更多地感到來自內(nèi)心追問和內(nèi)心矛盾困惑的痛苦：“麥地\\\/別人看見你\\\/覺得你溫暖 美麗\\\/我則站在你痛苦質(zhì)問的中心\\\/被你灼傷\\\/我站在太陽 痛苦的芒上\\\/麥地\\\/神秘的質(zhì)問者啊\\\/當(dāng)我痛苦地站在你的面前\\\/你不能說我一無所有\(zhòng)\\/你不能說我兩手空空”（《答復(fù)》）；“在火光中 我跟不上那孤獨(dú)的\\\/獨(dú)自前進(jìn)的、主要的思想”（詩劇《太陽》）的痛苦——思考的孤獨(dú)感和焦慮感更為沉重實(shí)在，構(gòu)成了海子詩歌的精神核心。

《面朝大海，春暖花開》難得流露的純真明快，并不能表明詩人已走出困惑 ，對(duì)生存意義和終極價(jià)值的追尋以及隨后墮入的懷疑已成為詩人無法擺脫的困境。

經(jīng)過了痛苦、漫長的探索，到1989年詩人感到了疲憊，在最后的創(chuàng)作中寫了不少抒情詩，最后一首詩作《春天，十個(gè)海子全部復(fù)活》即表達(dá)了在春天從“沉睡”中復(fù)活的渴望，但是同時(shí)又意識(shí)到自身的分裂：“十個(gè)海子”和“最后一個(gè)海子”如此的不同，幾乎沒有可能在一個(gè)人身上體現(xiàn)出來。

在《面朝大海，春暖花開》這首詩中同意能夠讀到這種自我分裂——在情緒的延展中分離出差異化了的詩人內(nèi)心聲音。

而詩人認(rèn)可的最終還是退回到自我世界和主觀情境中的那一個(gè)：“這是一個(gè)黑夜的孩子，沉浸于冬天，傾心死亡\\\/不能自拔，熱愛著空虛而寒冷的鄉(xiāng)村”——寫于1989年3月14日詩人去世前不久的詩句似乎是一個(gè)預(yù)言。

川端康成《臨終的眼》里引用芥川龍之介《給一個(gè)舊友的手記》的話：“也許你會(huì)笑我，既然熱愛自然的美而又想要自殺，這樣自相矛盾。

然而，所謂自然的美，是在我‘臨終的眼’里映現(xiàn)出來的。

”可否說，“面朝大海，春暖花開”，也是長久以來感覺到“黑暗從內(nèi)部升起”（《黑夜的獻(xiàn)詩——獻(xiàn)給黑夜的女兒》）的海子的一線游離的思緒。

無法復(fù)活的海子，隨著20世紀(jì)80年代理想主義、精英意識(shí)的逝去而成為神話（詩人西川稱他為“中國70年代新文學(xué)史中一位全力沖擊文學(xué)與生命極限的詩人”，在《懷念》的開頭說“詩人海子的死將成為我們這個(gè)時(shí)代的神話之一”）。

從90年代初起，他的詩歌被批評(píng)家廣泛關(guān)注，甚至一度引發(fā)了全國范圍的“海子熱”。