bstract: The image of the child that appears at the beginning and in the end of the novel The Old Man and the Sea practically plays an important role and closely related with the “code hero” Santiago and the theme “undefeated” of the novel. This thesis will deeply analyze the function of the little boy Manolin in this novel and discuss its realistic meaning.

关键词:《老人与海》　桑提亚哥　曼诺林Key words: The Old Man and the   Sea Santiago    Manolin

1 简介1 Introduction

Hemingway was one of the greatest writers in the USA and he won the 1954 Nobel Prize in literature by The Old Man and the Sea which is the last important work in his life. It can be said that this works fully presents the “iceberg” principle of Hemingway. It isn’t a work of symbolism in true meaning, as Hemingway said The Old Man and the Sea “didn’t own any symbolism. The sea is the sea, so it is the same with the old man, child, fish and the shark.” However, as he said at the same time “if I can shape them excellently and really, they will mean much more.” Indeed, the images presented in The Old Man and the Sea and the imagination extended by them are various and profound, and it is just its extensiveness and richness that makes this work with the characters of more than 26,000 become an immortal classic.

In The Old Man and the Sea, what impress me most is the bright contrast of the big and small images “the old man” and the “child”, however, we discover that the image of the child is just mentioned at the beginning and in the end in this novel and accounts for a few words, so some critics even point out that it is a total failure in the work of The Old Man and Sea. In my opinion, though the description about the child is not much, it truly presents the consistent “iceberg” principle of Hemingway. In order to make the readers understand these characters and meanings, seven eighths hidden under the water shall be discovered by one eighth supplied by the author, while if the writer presents profoundly in the works, then the one eighth on the surface is enough for the readers to understand all the profound meanings and get out the things belong to oneself. Therefore, we discover that the image of the child in The Old Man and the Sea plays an important role and we shall try to appreciate the rest covered meaning of the writer from the one eighth on the surface.

海明威是美国最伟大的作家之一, 依靠他人生中最后一部重要作品《老人与海》一举获得1954年度的诺贝尔文学奖。这部作品可以说充分体现了海明威创作的“冰山”原则, 虽然不是一部真正意义上的象征主义作品, 正如海明威自己所说的《老人与海》“没有象征主义的东西。大海就是大海。老人就是老人。孩子就是孩子。鱼是鱼。鲨鱼全是鲨鱼”。但就像他同时又说的,“如果我能将他们塑造得十分出色和真实, 它们将意味着很多东西。”确实, 《老人与海》里所出现的意象以及由它们而展开的联想是多样而深刻的。也正是这样的广博性与丰富性使得这部仅两万六千多字的文学作品成为一部不朽的经典。

《老人与海》中给我印象最深的是其中“老人”与“孩子”这一大一小形象上的鲜明对比。但是我们发现, 孩子这一形象只是在小说开头与结尾处提到, 所占的笔墨其实并不多, 有些评论家甚至指出这是海明威这部《老人与海》的一大败笔。但是在我看来, 作者对孩子刻画得虽不多,但却真正体现了海明威所一贯坚持的“冰山”原则, 只是为了让后人通过读这些文字, 根据作者所提供的八分之一, 去挖掘出深藏在水面之下的八分之七, 而若作家对作品表现得足够深厚的话,那么浮在表面的那八分之一也足以大家去领悟一切深意, 并读出属于每个人自己的东西。也正是这样, 我们发现孩子这一形象在《老人与海》一书中作用其实也是很大的, 我们应该试图从表层。的八分之一去体会作家其余未显露的用意。

2 小男孩这个角色的必要性2 The necessity of the image of the little boy

Firstly, the consistent narration style of Hemingway destines that the image of the boy would necessarily appear in this work. We can always find two opposite powers with contradictory attitude among the works of Hemingway, which can be said as a kind fixed thought of Hemingway's writing. We may feel the opposite sides in the war or the fight between human and nature or something like that, always with the opposite attitudes of two opposite powers, for example, Jack and Brett in The Sun Also Rises by Jack and Brett, Ole Andreson Nick Adams in The Killers, Jordon and Pilar in For Whom the Bell Tolls, the two bull fighters in The Undefeated and Santiago and Manolin here.

From these works, it is not that difficult to find that Hemingway often shaped two opposite characters, one is a code hero and the other a weak one, forming some kind of tension and presenting the information that the writer wanted to give the readers through these two bright characters. In The Old Man and the Sea, through the contrast of the images and personalities of the old man and the child, Hemingway wanted to present a series of senses and the thinking of life and lives to the people. 

首先, 按照海明威一贯的叙述风格, 就注定了《老人与海》这部作品中必然会出现小孩意义形象。因为在海明威的作品中, 我们始终都能找到两种相互的力量存在着, 这可以说已经成为海明威写作的一种固定思维, 在他的作品中我们或是能够感受到战争中对立的双方, 或是看到人与自然的搏斗, 诸如此类, 始终是两个相对力量之间的相反态度。比如说《太阳照样升起》中的杰克和布雷特, 《杀人者》中的奥勒•安德生和涅克•亚当斯, 《丧钟为谁而鸣》的乔丹和皮拉尔,《打不败的人》中的两位斗牛士, 以及这里的桑提亚哥和曼诺林。

纵观这些作品不难发现,海明威常常将这样两个相对的人物设置成一个硬汉、一个相对弱势的个体, 通过塑造这样两个鲜明的人物来形成小说叙述的某种张力, 以表现作者想要传达给读者的信息。那么, 在《老人与海》中, 海明威就是希望通过老人与孩子这一大一小的形象性格比照, 给世人展示一系列的图景, 对人生、对生命的思考。

3 小男孩在文中的作用 3 The role of the little boy in the novel

3.1 The character of the little boy is the best supplement of the character of the old man.

Secondly, based on the novel, the protagonist of The Old Man and the Sea, the “old man” Santiago is a fisherman who has separated from the society and exists individually. As for his past, it is only known that he had been to Africa in his early days and saw lions at the beach, which may be the source of his dreams; another is that the old man once had a pull wrist competition with a black man when he was young--- the old man won after one day and one night; as for his family, we can only conclude that he is a widower from the his wife’s relics placing in the house; except these, no one knows more about his past. However, people may think that the current moment of one person is more important rather than the past; therefore, the boy Manolin becomes a bridge connecting the old man and the outside world.

Manolin has been to sea with the old man since he was five years old and the old man tells him how to fish; Manolin accompanies the old man to watch the softball matches, help him to roll up the fishhook and spear and wind the sail of the mast, he even invites the old man to drink and eat and brings sardines to him, caring for the old man very much.

In the novel, the only one with whom the old man communicates more is this boy who provides much life needs to the old man, therefore, it seems that he is a part of the old man as well as other state of Santiago. In most time, it is Manolin who puts the old man before us and makes us understand further about him, for example, through the words of Manolin, we know the opinions of the people around about that the old man has fishes nothing in continuous 84 days and also through Manolin’s narration, we know more about the old man’s personality and habits. It can be said that, to some extent, Manolin has became the spokesman of the old man. If there was not the image of the boy, the readers will know less about the old man and what the old man communicates may nothing but the vast sea, all kinds of fishes and his lonely and small boat.

3.1小男孩的角色是对老人这个角色的最佳补充

其次, 立足文本。《老人与海》中的主角“老人”桑提亚哥几乎是一个完全脱离社会而独立存在的渔夫。关于他的过去, 只知道老人早年去过非洲, 在沙滩上见过狮子, 这或许就是他梦境的来源; 还有一点就是老人年轻时曾经和一个黑人进行过扳手腕比赛———两人相持了一天一夜, 老人才赢得了比赛。而关于老人的家庭, 我们也仅仅从他屋内摆着的他妻子的遗物知道他是一个鳏夫。除此之外, 谁也不知道他过去的更多事迹。但是也许人们又会想, 一个人的过去并非那么得重要, 当下才是最主要的, 于是这个孩子曼诺林便成了老人与外界联系的一个纽带。

曼诺林从5 岁开始就跟着老人一起出海,是老人教会他如何捕鱼; 曼诺林陪老人看他喜欢的垒球比赛, 又是经常帮老人卷起鱼钩和鱼叉、绕好桅杆上的帆, 更是请老人去喝酒、吃饭、还给他带沙丁鱼过来, 可谓是对老人的生活关心备至。

在小说中,老人唯一交流比较多的对象就是这个孩子, 而这个孩子也给老人提供了很多的生活需要, 看起来他就像是老人的一部分, 是另一种状态的桑提亚哥。更多时候, 就是曼诺林将老人引到了我们面前, 让读者更深一层地了解老人。比如通过曼诺林之口知道了周围人对老人连续84天没有打到鱼的看法, 也通过曼诺林的叙述对老人的性格与生活习惯多了一些认识。可以说, 这里的曼诺林在某种程度上已经成了老人的一个代言人。如果没有这样一个人物形象, 读者对老人知道得将更加少, 而老人所打交道的, 也许就只能剩下茫茫大海和各种鱼类以及

他的那艘孤独小船了。

3.2 小男孩这个角色帮助更好的体现了重压下的优雅这一主题3.2 The character of the boy helps to present the theme of grace under pressure better.

Thirdly, we realize that the theme of The Old Man and the Sea aims to present a kind of undefeated heroic belief, try to make the old man remain calm before force and death and be indifferent with the frustration and suffering, representing a kind of “grace under pressure”, however, the development of the theme can not separate with Manolin.

It has pointed out, at the beginning of The Od Man and the Sea, old man has fished nothing in 84 days, which is already unlucky, while the boy who always accompany with him is forced by his parents to go to another boat and leaves the old man in his small boat alone. From the narration at the beginning, we can see that the boy has became a part of the old man‘s life not only in materials but also spiritually. Manolin leaves a lonely shadow and a shabby boat behind, then another 40days without any fish makes the old man full of tragic color. When when the boy goes to another fishing ship, “they get three good fish at the first week.” Such bright contrast makes the local fishers having a strong belief in luck think much that this old man surely has a “bad luck”. 

All the progresses strongly represent the “pressure” that the old man meets. It’s this foreshadowing that makes the old man’s next behaviors present a kind of inconsistent “grace”: when the boy would leave for another fishing ship, the old man has a magnanimous and understanding attitude, “I know you leave me not because you do not trust me.” When Manolin said that he could go to sea with the old man together when he saved enough money, the old man comforted him,“ your ship is lucky and you should go with them.” He decided to fish on the 85th day since he firmly believed it was a lucky number and he would have a big harvest. The old man faced the unhappiness and frustration in his life with a kind of optimistic and positive attitude, when he returned with nothing after three days’ struggle while the boy has harvests in these three days, he did not feel unhappy, on the contrary, praises gracefully,“ very good.”

The old man still kept this grace, chose to continue to fight and what he wanted by his own ways. The open-minded, magnanimous and confident personalities of the old man before the pressure make us feel his “grace”. People can image that the in-depth and highlight of the theme of “grace under pressure” can not separate from the functions of foil and contrast of Manolin.

再者, 我们也意识到《老人与海》这部小说的主题在于表现一种打不败的英雄主义人生信念,试图让老人在暴力与死亡前面不改色, 在挫折和痛苦前无动于衷, 表现出一种“重压下的优雅风度”。然而这一主题的层层展开, 与孩子曼诺林也是分不开的。

《老人与海》一开始就点出了老人已经84天没有打到鱼了, 这已经是够倒霉的了,而一直相伴在老人身边的孩子迫于父母之命搭上了另外一条渔船, 把老人独自地留在他那破旧的小船里。而从前面的叙述可以看出孩子已经成为老人生活中的一部分了, 不仅是物质上的, 更是精神上的, 曼诺林的离去, 只留下一个孤独的身影和一艘残破的渔船, 又是四十天的打不到一条鱼,让老人顿时充满了悲剧色彩。而当孩子上了另一艘渔船, “头一个星期就钓到了三条相当不错的鱼”, 这样的鲜明对比就让当地十分相信运气的渔民们更加认为老人实在是交上了“厄运”。

而这一切的层层递进, 都极强地表现了老人所遇到的“重压”。然而也正是这样的铺垫, 让接下来老人的行为表现出一种不相符的“优雅”: 当孩子要离开老人到另一艘渔船上去时, 老人显出了一种大度和完全理解的态度, “我知道你不是因为不相信才离开我的”, 当曼诺林说自己攒够了钱就又可以与老人一同出海时, 老人又宽慰地说: “你们那只船运气好。还是跟他们一道吧。”他决定第85天继续出去打渔, 因为坚信那是一个吉祥的数字,自己一定会有一个大收获。完全以一种乐观积极的态度面对生活中的不如意和挫折。而当自己苦战三天却仍然空手而归, 孩子在这三天里却是天天丰收时, 老人也没有丝毫不快, 反而欣慰地夸奖道: “很好”。

老人依旧保持着这种优雅, 选择继续战斗, 继续以自己的方式选择自己想要的。老人在重压前所表现出的豁达、大度与信心, 都让人感受到了他的“优雅”。于是人们便可以想象, “重压之下的优雅”这一主题的深入与凸现,都是离不开孩子曼诺林在文中的衬托和对比作用。

3.3 小男孩是老人情感精神的寄托3.3 The little boy is the emotional and spiritual sustenance of the old man.

Fourthly, from some details in this novel, we can see that to some extent, the boy has become the embodiment of the old man. When the boy is forced by his parents to go to another fishing ship, though he has good luck every day, he still concerns about the old man and his small shabby boat since the old man not only teaches him how to fish, moreover, he is moved deeply by the old man’s spirit. The old man’s spirit of persistence and marching fearlessly onward and his saying “human is born not for failure and one man can be destroyed but not defeated” are impressed in the boy’s mind and give him power all the time.

Therefore, it isn’t strange that the boy always wants to return to the boat of the old man and go to sea with him, going to the deepness of the sea, experiencing more waves and accepting more anneals. Though they may not fish more in this way, they still consistently believe that it is a beautiful living condition that human are born to fight and never are defeated by life.

Though the boy has gone to another ship, he often goes to see the old man. When he draws the shabby boat of the old man on the beach, he says to the old man, “I can go to sea with you since my family has saved a little money.” From this detailed dialogue, we can see this boy has completely blended into the life state of the old man. When there are a few changes, he wants to go to sea with the old man again. What is narrated later is that the boy cares the old man:“ the boy takes a old army blanket from the bed, hangs on the chair-back and covers on the shoulders of the old man”, then the old man wants to fish without meal, the boy strongly opposes,“ you can not fish without meal as long as I exist in the world”, this emotion between them just likes they are family, sometimes we may even has an illusion that in unseen world, this boy is a relative and a spiritual company given by the God. We seemingly see the youth of the old man from Manolin or the growth of successor.

In the end of the novel, the boy returns to the side of the old man, they prepare to go to sea and the boy will continue learning more “skills” from him to cope with more dangers on the sea. At this moment, we can see clearly, on a vaster sea, one old and one young drive a boat to the far and the shines of the rising sun spread on the blue surface of the sea… Now Manolin is like a rising sun giving the unlimited hope to the people. The old man would finally be defeated by the time, but his spirit can be multiplied and passed. Therefore we can image that after several years, the boy will become a man who never admits defeated and continually pursues the meanings of living like the old man. In the opinion of the author, the old man often seems lonely; however, the appearance of the boy brings hopes and comforts of seeing the continuation of the strong life to the author. 

The last consideration is triggered by the dialogues at the beginning of the novel:

“Where are you going?” asks the boy.

“Go to far away and return following the direction of the wind when it changes it. I will start before dawn.”

“I want to ask him to go far away.” The boy says.

“When you fish a big one, we can help you.”

“They do not like to sail far away.”

“Yes,” the boy says, “but I can see the things which he can not see such as foraging bird. If I can  see I will ask him to chase the dolphin.”

The short dialogue arouses my interest since it makes me think of the proposition left by the Book of Job in the Old Testament about “why do good people suffer?” In The Old Man and the Sea, according to the dialogue above, I also extend and see the situation of “good people run into bad things”. The old man chose to take a risk and went fishing in the deep sea in spite of his own life and safety, but he didn’t get any fish in successive 48 days. The old man didn’t lose his confidence and hope, and then went to sea again. This time he had a good fortune that he got a little golden and shining tunny and then a vast marlin got hooked. However, when he was contesting with the vast marlin, he unfortunately drew a shark. In the end, the old man and the shark battled for three days and nights and he finally defeated the shark, but only dragged a mere shell of the vast marlin exhaustedly. However, the other fishermen did not like to sail too far away and they just went fishing off shore, enjoying the calm and tranquil feeling, but their fortune was amazingly wonderful that they were able to get three good fish within a week. Besides the “being out of luck” and “being in luck” embraced by the fishermen, we can not give a more valid reason. The answer of this problem is also not appeared in the Book of Job, which just conveys that our attempt of trying to explain “good people run into bad things” is vain, since God’s willness is mysterious and cannot be controlled by human’s reason. What we should do and what we can only do is to keep our consistent faith.  

还有, 从小说中的一些细节中可看到孩子在某种程度上已经成为了老人的化身。当初孩子受父母的逼迫上了另一艘捕鱼船, 虽然天天的好运不断, 但是曼诺林心里挂念的还是老人的那艘小破船, 不仅因为老人从小就教会了他如何捕鱼,而且更是因为老人的精神深深地打动了孩子, 老人的锲而不舍、勇往直前的品质, 以及他的那句“人不是为失败而生的, 一个人可以被毁灭, 但不能给打败”的名言都一直留在孩子的心中, 并且时时给他以力量。

怪不得孩子总是想着重新回到老人的船上, 再和他一道出海, 去到海的深处,经历更多的风浪, 接受更多的磨练, 哪怕这样有时并不能打到更多的鱼, 但是老人和孩子心中仍然一直坚信这本身就是一种很美的生存状态, 人生来就是为了战斗, 从而不输给生活的。

孩子虽然已经上了另一艘船, 但他还是经常来看老人,当他把老人那破船拉上岸的时候, 他又对老人桑提亚哥说道: “我又能跟你一道下海啦。我家里已经攒了一些钱。”从这样一句细微处的对话, 我们便看出了孩子已经是全身心地融入到老人的生活状态中去了, 只要当事情状况有了一丝改变, 他就要重新跟随老人出海。而后面所叙述的, 孩子照料着老人: “孩子从床上拿了一条旧军毯, 搭在椅背上面, 盖在老头儿的肩膀上”, 之后老人要不吃饭就出外打渔, 孩子又是一个劲地反对, “只要世界上还有我, 决不能让你不吃饭就去打渔啊”,这样的情感就像是真正的一家人一样, 甚至有时都会让我们产生错觉, 冥冥中觉得孩子就是上天赐给老人的一个亲人、一个精神伴侣。我们也仿佛从曼诺林身上看见了老人小时候, 或者看到了一个后继者的成长。

小说结尾处, 孩子又重新回到了老人的身边, 他们准备再次出海, 孩子也将继续跟随着老人学习更多的“本领”, 以应付海上更多危险的境况。此刻, 我们分明看见越来越拉长的海平面上, 一老一少驾着一艘小船渐渐驶向远方, 朝阳的光芒缓缓地弥漫在整个蓝色的洋面

上⋯⋯曼诺林此刻就像是一个初升的太阳, 给人们以无限的希望。老人在时间面前终究会败下阵来, 但是他的精神是可以繁衍、可以传递的, 我们也可以想象若干年后孩子也一定会成为像老人那样永不服输、不断追求活着意义的人。很多时候老人在笔者看来是孤独的, 但是此处孩子的出现还是让笔者看到了希望, 看到了一种顽强生命

延续的欣慰感。

最后的一点思考, 是由小说开始一段在老人和孩子之间的对话引发的:

“你到哪儿去?”孩子问。

“去得远远的, 风向一转就顺着风回来。天亮以前我就要出发了。”

“我想叫他也去得远远的, ”孩子说。

“那么, 你要是捉到一条真正的大鱼, 我们就可以来帮助你了。”

“他们不高兴把船开得很远。”

“是的, ”孩子说。“可是我会看见他看不见的东西, 像觅食的鸟儿, 我看到了就会叫他去追海豚。”

这段小对话引起我兴趣的是让我又重新思考了《旧约》中《约伯记》留给我们的命题, 就是“好人为何受难”? 在《老人与海》一书中, 根据上面的那段对话, 我也延伸开来看到了“好人遇到坏事”这样一种情景。老人选择冒险, 不顾自己的生命安危, 到深海中去捕鱼, 但是却连续84天没有捕到一条鱼, 没有丧失信心和希望的老人再次出海, 这次他时运大转, 先是钓上了一条金光灿灿的小金枪鱼, 紧接着是另一头巨大的马林鱼上了钩。但是在和这条大马林鱼周旋的时候,不幸引来了鲨鱼, 最后老人和鲨鱼搏斗了三天三夜, 终于战胜了鲨鱼, 但却只疲惫地拖回一具大马林鱼的空空骨架。而另一些捕鱼者, 他们不高兴把船开得很远, 只在近海处打渔, 风平浪静,安逸自得, 但却往往运气好得出奇, 一个星期便能捕上三条好鱼。除了渔民们所信奉的“背运”和“走运”之外, 我们却也给不出更为有根据的理由。这个问题在《约伯记》中也没有给出回答,只是传达着我们任何试图去解释为何“好人遇到坏事”的企图都是徒劳的, 因为主宰一切的上帝的意志是神秘, 也是人之理性所无法把握的。我

们要做的也只能做的就是保持一贯的信仰。

5 the realistc meaning of the little boy5 The realistic meaning of the little boy

In all ages, no matter how developed the science and technology is and how advanced the human’s thought and consciousness is, we can not solve this proposition consistently. As for the explanation of the man’s action in The Old Man and the Sea, maybe we can just see it from the angle of the faith implanting inward. However, although the child Manolin’s acceptance and inheritance of the old man’s faith is not clearly expressed in the novel, I think it indistinctly suggests that the mysterious proposition will always be along with human without any reason but makes generations of people cherish their faiths created by themselves and use the value in accordance with the “divinity” summon in their own understanding to dominate their daily actions and habits. In addition, the child finally followed the old man to go to deep sea for fishing, which is a symbol of the continuation of the mysterious proposition of human. Therefore it props up a new level of thought for The Old Man and the Sea. Naturally, there is no more valid evidence to show that the reason of Hemingway’s setting of the child has something to do with this philosophic thought, but as far as I’m concerned, the Bible, as the construction foundation of the western civilization, must have some problems of ultimate meaning of human life to be lingered in the creation intents of these western writers intentionally and unintentionally. They can be obvious or exist in sub-consciousness. Naturally, it creates more space for the readers.  

从古至今, 不管科学技术如何得发展, 人们的思想意识如何得进步, 我们始终是无法解释这一命题。对于《老人与海》中老人行为的解释我们也许也只能从深藏于他内心的信仰上着眼。然而孩子曼诺林对老人这一信仰的接受与继承, 虽然小说中表现得不为明显, 但是我觉得隐隐中似乎暗示了这一神秘命题将会一直伴随着人类, 没有答案,却可以让一代又一代的人心怀自己所建构起来的信仰, 以自己所认为的符合“神性”召唤的价值观去支配自己日常的行为举止。而孩子最终跟从老人前往深海打渔, 又再次象征了人类这一神秘命题的继续, 从而给这部《老人与海》又撑起了一个新的思想高度。当然没有更为有力的证据说明海明威设置孩子的原因是和这样一种哲理思考有关, 但是我想作为西方文明建构基础的《圣经》, 其中所充斥的一些人生终极意义问题必然是会有意无意地萦绕在这些西方作家的创作意图中,

可能是明显的, 也可能是潜意识中的。当然也给读者创造了更多的空间。

6结论6 Conclusion

The reasons above make me feel that the appearance of the child—Manolin in the novelette, The Old Man and the Sea, is not the writer’s temporary inspiration. Surely I cannot say that the interpretation above is definitely Hemingway’s original intention, but I just think that the character only appearing in the beginning and end of the novel still arouse some thoughts of the readers. It’s seemingly related closely with the expression of the “code hero” image of the old man --- Santiago and the novel’s theme of “undefeated”, and it can even arouse people’s thinking of living essence and life value. Therefore the setting of the image of the child is necessary in the plot development of The Old Man and the Sea.    

It can be said that without the child, the old man cannot be the image we are able to see now; without the child, the work cannot be the work we are reading now. What the child left for the readers is not only an intangible view of back. On the contrary, the image of the child is clear and obvious in the readers’ mind. No matter how detailed the description of the child is, it can only let the readers have more intensive feeling on the existing of the old man. The child seems like the snow on the top of the mountain. Thanks to the snow, the mountain will look deeper and more stalwart. The old man is like the mountain, and he need not say too much since the readers are feeling the old man silently when they read the child. 

上述的种种理由, 让笔者觉得《老人与海》这部中篇小说中曼诺林这个孩子形象的出现是并非是作家的一时心血来潮, 当然也不能说我的上述解读就完全是海明威的初衷, 只是觉得这样一个只在小说开头结尾出现的人物多少还是会引起读者心中的一些想法, 看起来也是与表达老人桑提亚哥“硬汉”形象和小说“不言败”主旨所密切相关的, 甚至是可以引起人们对于生存本质、生命价值的思考, 因而孩子形象的设置是《老人与海》情节发展所必须的。

可以说, 没有孩子, 老人则不成其为我们现在所看到的老人; 没有孩子, 作品则不成其为我们现在所看到的作品。孩子留给读者的并不只是一个若有若无的背影。相反, 孩子的形象在读者的脑海中是清晰可辨的, 对孩子的描写无论怎样详尽都只能让读者更强烈地感觉到老人的存在。孩子就像是山顶的白雪, 有了雪, 山才显得更加深沉与伟岸。老人就像大山一样, 他无须多言, 因为读者在阅读孩子的同时实际上就在默默地感受着老人。

如需定做,留学文书翻译请联系我们专家定制团队，QQ337068431，热线咨询电话：021-62170626

相关文章：

• 个人申请-personal application
• 用玉米麸粉部分或者完全替代现有的鱼粉的效果中英文翻译
• Research on Economic Consequences of Chinese Enterprises’ Acquisitions Overseas中国企业海外并购经济后果研究—Case Study on Basis of Lenovo Merging IBM PC Business
• English Test for Postgraduates of Ideological and Political Education 思想政治教育硕士研究生英语考试
• 摘要部分英语翻译：运用高新技术探索牡丹产业发展的新空间

标签： 文学翻译,老人与海,情感研究