求老人与海的诺贝尔文学奖评语英文原文 《老人与海》获1954年诺贝尔文学奖,授奖委员会的评价是:
\u8bfa\u8d1d\u5c14\u6587\u5b66\u5956\u82f1\u6587\u600e\u4e48\u8bf4\u8bfa\u8d1d\u5c14\u6587\u5b66\u5956
The Nobel Prize in Literature
\u8bfa\u8d1d\u5c14\u6587\u5b66\u5956
\u745e\u5178\u8457\u540d\u7684\u53d1\u660e\u5bb6\u548c\u5316\u5b66\u5bb6\u8bfa\u8d1d\u5c14\u57281895\u5e7411\u670827\u65e5\u5199\u4e0b\u9057\u5631\uff0c\u6350\u732e\u5168\u90e8\u8d22\u4ea7\u8bbe\u7acb\u57fa\u91d1\uff0c\u6bcf\u5e74\u628a\u5229\u606f\u4f5c\u4e3a\u5956\u91d1\uff0c\u6388\u4e88\u201c\u4e00\u5e74\u6765\u5bf9\u4eba\u7c7b\u4f5c\u51fa\u6700\u5927\u8d21\u732e\u7684\u4eba\u201d\u3002\u8fd9\u4fbf\u662f\u8bfa\u8d1d\u5c14\u5956\u7684\u7531\u6765\u3002\u6839\u636e\u4ed6\u7684\u9057\u5631\uff0c\u745e\u5178\u653f\u5e9c\u4e8e\u540c\u5e74\u5efa\u7acb\u201c\u8bfa\u8d1d\u5c14\u57fa\u91d1\u4f1a\u201d\uff0c\u8d1f\u8d23\u628a\u57fa\u91d1\u7684\u5e74\u5229\u606f\u6309\u4e94\u7b49\u5206\uff0c\u5176\u4e2d\u4e00\u4efd\u6388\u4e88\u201c\u5728\u6587\u5b66\u65b9\u9762\u521b\u4f5c\u51fa\u5177\u6709\u7406\u60f3\u503e\u5411\u7684\u6700\u4f73\u4f5c\u54c1\u7684\u4eba\u201d\u3002\u8fd9\u5c31\u662f\u8bfa\u8d1d\u5c14\u6587\u5b66\u5956\uff0c\u7531\u745e\u5178\u6587\u5b66\u9662\u9881\u53d1\u3002 \u53e6\u5916\u56db\u4e2a\u5956\u9879\u4e3a\u7269\u7406\u3001\u5316\u5b66\u3001\u751f\u7406\u6216\u533b\u5b66\u53ca\u548c\u5e73\u5956\u30021990\u5e74\u8bfa\u8d1d\u5c14\u7684\u4e00\u4f4d\u91cd\u4f84\u5b59\u514b\u52b3\u65af\u00b7\u8bfa\u8d1d\u5c14\u53c8\u63d0\u51fa\u589e\u8bbe\u8bfa\u8d1d\u5c14\u5730\u7403\u5956\uff0c\u6388\u4e88\u6770\u51fa\u7684\u73af\u5883\u6210\u5c31\u83b7\u5f97\u8005\u3002\u8be5\u5956\u4e8e1991\u5e746\u67085\u65e5\u4e16\u754c\u73af\u5883\u65e5\u9996\u6b21\u9881\u53d1\u3002
\u300a\u8001\u4eba\u4e0e\u6d77\u300b\u83b7\u5f971954\u5e74\u8bfa\u8d1d\u5c14\u6587\u5b66\u5956\uff0c\u6388\u5956\u59d4\u5458\u4f1a\u7684\u8bc4\u4ef7\u662f\uff1a\u201c\u52c7\u6c14\u662f\u6d77\u660e\u5a01\u7684\u4e2d\u5fc3\u4e3b\u9898\u3002\u300a\u8001\u4eba\u4e0e\u6d77\u300b\u5199\u7684\u662f\u4e00\u4e2a\u8001\u4eba\uff0c\u5c55\u73b0\u7684\u5374\u662f\u4e00\u4e2a\u4e16\u754c\u3002\u201d
背景和评语 都在这Background and publication
Most people maintain that the years following Hemingway's publication of For Whom the Bell Tolls in 1940 until 1952 were the bleakest in his literary career. The novel Across the River and Into the Trees (1950) was almost unanimously disparaged by critics as self-parody. Evidently his participation as an Allied correspondent in World War II did not yield fruits equivalent to those wrought of his experiences in World War I (A Farewell to Arms, 1929) or the Spanish Civil War (For Whom the Bell Tolls).
Hemingway had initially planned to use Santiago's story, which became The Old Man and the Sea, as part of a random 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 a novella because it has no chapters or parts and is slightly longer than a short story.
The novella first appeared, in its 26,500-word entirety, as part of the September 1, 1952 edition of Life magazine. 5.3 million copies of that issue were sold within two days. The majority of concurrent criticism was positive, although some dissenting criticism has since emerged. The title was misprinted on the cover of an early edition as The Old Men and the Sea.
Literary significance and criticism
The 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 rhetorical question,
Just 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.
As of 2006, the current 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.
Waldmeir's analysis of this line, supplemented with other instances of similar symbolism, caused him to claim that The Old Man and the Sea was a seminal work in raising Hemingway's "philosophy of Manhood" to a religious level.This hallmark 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"). In juxtaposing this novella against Hemingway's previous works, Weeks explains that
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 W.H. 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."
who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed
绛旓細鑳屾櫙鍜岃瘎璇 閮藉湪杩 Background and publication Most people maintain that the years following Hemingway's publication of For Whom the Bell Tolls in 1940 until 1952 were the bleakest in his literary career. The novel Across the River and Into the Trees (1950) was almost unanimously dis...
绛旓細娴锋槑濞<鑰佷汉涓庢捣>璇鸿礉灏旀枃瀛﹀鍙楀璇 鎴戜笉鍠勮緸浠わ紝缂轰箯婕旇鐨勬墠鑳斤紝鍙兂鎰熻阿闃垮皵闆峰痉路璇鸿礉灏旇瘎濂栧鍛樹細鐨勫鍛樹滑鎱锋叏鎺堜簣鎴戣繖椤瑰閲戙傛病鏈変竴涓綔瀹讹紝褰撲粬鐭ラ亾鍦ㄤ粬浠ュ墠涓嶅皯浼熷ぇ鐨勪綔瀹跺苟娌℃湁鑾峰緱姝ら」濂栭噾鐨勬椂鍊欙紝鑳藉蹇冨畨鐞嗗緱鍦伴濂栬屼笉鎰熷埌鍙椾箣鏈夋劎銆傝繖閲屾棤椤讳竴涓鍒椾妇杩欎簺浣滃鐨勫悕瀛椼傚湪搴х殑姣忎竴涓汉锛...
绛旓細鑾峰緱璇鸿礉灏旀枃瀛﹀璇勮锛 銆婅佷汉涓庢捣銆嬫槸涓閮ㄥ紓甯告湁鍔涖佹棤姣旂畝娲佺殑浣滃搧锛屽叿鏈変竴绉嶆棤鍙姉鎷掔殑缇銆 鈥斺旂憺鍏告枃瀛﹂櫌闄㈠＋ 闇嶅皵鏂櫠绌 銆婅佷汉涓庢捣銆嬫槸涓棣栫敯鍥瘲锛屽ぇ娴峰氨鏄ぇ娴凤紝涓嶆槸鎷滀鸡寮忕殑锛屼笉鏄害灏旂淮灏斿紡鐨勶紝濂芥瘮鑽烽┈鐨勬墜绗旓細琛屾枃鍙堟矇鐫鍙堝姩浜猴紝鐘瑰鑽烽┈鐨勮瘲銆傜湡姝ｇ殑鑹烘湳瀹舵棦涓嶈薄寰佸寲锛屼篃涓嶅瘬瑷鍖栤...
绛旓細鈥斺旇幏寰楄璐濆皵鏂囧濂栬瘎璇 銆婅佷汉涓庢捣銆嬫槸涓閮ㄥ紓甯告湁鍔涖佹棤姣旂畝娲佺殑浣滃搧锛屽叿鏈変竴绉嶆棤鍙姉鎷掔殑缇銆傗斺旂憺鍏告枃瀛﹂櫌闄㈠＋ 闇嶅皵鏂櫠绌 銆婅佷汉涓庢捣銆嬫槸涓棣栫敯鍥瘲锛屽ぇ娴峰氨鏄ぇ娴凤紝涓嶆槸鎷滀鸡寮忕殑锛屼笉鏄害灏旂淮灏斿紡鐨勶紝濂芥瘮鑽烽┈鐨勬墜绗旓細琛屾枃鍙堟矇鐫鍙堝姩浜猴紝鐘瑰鑽烽┈鐨勮瘲銆傜湡姝ｇ殑鑹烘湳瀹舵棦涓嶈薄寰佸寲锛屼篃涓嶅瘬瑷鍖栤...
绛旓細璇鸿礉灏旀枃瀛﹀璇勫浼氬湪缁欐捣鏄庡▉鐨勯濂栬瘝涓寚鍑猴細鈥滀粬绮鹃氫簬鍙欎簨鑹烘湳锛绐佸嚭鍦拌〃鐜板湪浠栫殑杩戣憲銆婅佷汉涓庢捣銆嬩箣涓鈥濆湪杩欓儴灏忚涓紝娴锋槑濞佺嫭鐗圭殑鍙欎簨鑹烘湳杈惧埌浜嗙倝鐏函闈掔殑绋嬪害銆備綔鍝佺殑鎴愬姛寰楀姏浜庝粬閭ｉ珮搴︾畝缁冪殑鍙欎簨鎶宸у拰閭ｇ畝绾︺佸惈钃勭殑璇█椋庢牸銆備粬鎲ф啲濡備綍浠ユ渶绠鍗曠殑璇嶅彞鏉ヨ〃杈炬渶澶嶆潅鐨勬剰鎬濓紝灏介噺浣胯瑷鏈寸礌鏃犲崕...
绛旓細1952骞达紝銆婅佷汉涓庢捣銆嬮棶涓锛屾繁鍙楀ソ璇勶紝缈屽勾鑾锋櫘鍒╃瓥濂栥1954骞磋幏璇鸿礉灏旀枃瀛﹀銆傚崱鏂壒缃楁帉鏉冨悗锛屼粬绂诲紑鍙ゅ反杩旂編瀹氬眳銆傚洜韬笂澶氬鏃т激锛岀櫨鐥呯紶韬紝绮剧蹇ч儊锛 1961骞7鏈2鏃ョ敤鐚庢灙鑷潃銆傛槑濞佸幓涓栧悗鍙戣〃鐨勯仐浣滐紝涓昏鏈夈婃捣娴佷腑鐨勫矝灞裤嬶紙1970锛夊拰銆婁紛鐢稿洯銆嬶紙1986锛夈備粬閭ｇ嫭鐗圭殑椋庢牸鍜屽閫犵殑纭眽瀛愬舰璞″...
绛旓細璇鸿礉灏旀枃瀛﹀鎺堝杈炵О璧炴捣鏄庡▉鈥滅簿閫氱幇浠ｅ彊浜嬭壓鏈,鑻卞浗浣滃璧礉鑼ㄨ娴锋槑濞佺殑灏忚寮曞彂浜嗏斺斿満鈥滄枃瀛﹂潻鍛解,杩欎簺璧炶獕,銆婅佷汉涓庢捣銆嬪悓鏍峰綋涔嬫棤鎰銆傚皬璇磋壓鏈笂鏈澶х殑鐗圭偣鏄薄寰併傚敖绠℃捣鏄庡▉鍗佸垎鍙嶆劅鐮旂┒鑰呮妸浠栫殑浣滃搧鍜屼换浣曡薄寰佹壇鍦ㄤ竴璧,浣嗐婅佷汉涓庢捣銆嬬‘鏄竴閮ㄧ巹杩滄繁閭冪殑灏忚銆傛捣鏄庡▉閫夊彇娓旂寧杩欌斾汉绫绘渶鍘熷涔熸渶鑷劧鐨...
绛旓細A man can be destroyed but not defeated.鍓嶉潰杩樻湁涓鍙モ滀絾浜轰笉鏄负澶辫触鑰岀敓鐨勨濓紝鍏惰嫳鏂囧師鍙ユ槸锛欱ut man is not made for defeat.杩欏彞璇濆嚭鑷捣鏄庡▉鐨銆婅佷汉涓庢捣銆锛圱he Old Man and the Sea锛夈傛捣鏄庡▉鏄竴鍚嶇編鍥藉皬璇村锛1954骞磋璐濆皵鏂囧濂栬幏寰楄咃紝鑾峰涔嬩綔灏辨槸銆婅佷汉涓庢捣銆嬨傝繖閮ㄥ皬璇存槸鏍规嵁涓...
绛旓細钀藉湪浠栫殑杩愭皵,浣嗕粬鐨勬渶楂樹弗閰锋棤鎯呯殑鎴樻枟,鐥涜嫤鈥斺斾笌椹灄楸艰繙绂绘捣婀惧皬婧.杩欓噷娴锋槑濞佸湪閱掔洰鐨勭幇浠ｉ鏍肩殑閲嶅,缁忓吀thene鍕囨皵闈㈠澶辫触,涓汉鐨勬垚鍔熸潵鑷簬1952骞磋耽寰楀法澶,杩檒os.Written璇佸疄浜嗕粬鐨勫姏閲鍜鎴愬姛鐨勪綔鍝佸嚭鐜板湪鏂囧潧涓婃壆婕斾簡涓涓法澶х殑涓閮ㄥ垎,鍦ㄤ粬璧㈠緱浜1954骞璇鸿礉灏旀枃瀛﹀ ...
绛旓細鍚屾牱鎻ず浜鑰佷汉姘歌繙涓嶄細鑰佺殑鎰忓織銆 娴锋槑濞佺殑杩欓儴灏忚鑽ｈ幏浜璇鸿礉灏旀枃瀛﹀鍜鏅埄绛栧銆傝繖涓澶撮噷鐣欐湁鍑犵櫨鍧楀脊鐗囩殑纭眽浣滃锛屾伆褰撳湴鍐欏嚭浜嗙敓鍛界殑寮哄害锛屽憡璇夋垜浠庝箞鍘婚潰瀵圭敓銆佽併佺梾銆佹锛屽憡璇夋垜浠績璇ユ湁澶氬锛屽娴蜂竴鑸傝佷汉鏄鐙殑锛屼粬鏄湪鐞嗘兂鐨勯亾璺笂鍓嶈鐨勬梾浜猴紝浣嗕粬鍙堟槸涓嶅鐙殑锛...
