小小鸟一
范文一：简爱赏析
<簡愛>> 獨特的地方就再於作者夏綠蒂塑造了一位富有感染力且鮮明獨特的女性形象, 簡. 愛. 一個長相平凡, 沒有高貴出身, 但卻有堅強, 勇敢的人格. 当她发现羅切絲特已经有妻子时，并没有受金钱的诱惑而屈尊做他的情妇，而是选择了离开。其中, 瘋女人, 羅切絲特的妻子 一個看似不起眼的角色卻有著重要的意義, 他的所作所為都讓人不自主的多加以思考: 她是真的瘋了嗎?. 有人說, 她是另一個簡愛, 被男權主義壓榨的簡愛. 瘋女人象徵著男女不平等的社會中的犧牲著, 最後他雖然反抗但也結束了自己的生命. 此時, 你是否想過:是甚麼讓一個普通的女人成为一個瘋子?
就在我要縱身一跳時, 我聽見一聲”伯莎! ” 所有當年與他初次認識, 交往, 結婚的情景全浮現在我腦裡. 當初家裡為我安排了許多出身名門, 與家裡門當戶對的對象給我認識. 那時的生活簡直是富麗堂皇每天開心的沉浸在舞會與社交生活之中. 我是如此的有氣派, 有身份, 有地位, 甚至還擁有美貌與才情. 紳士们各各為我傾倒, 我知道自己有著三萬英榜的身價, 對於身邊那些想要討好我的人我更是提著防備的心理, 就在我快要對這種奢華的社交生活感到麻木, 空虛的時候, 一位有著淺棕色頭髮, 深邃五官, 陽光般笑容, 身材高大穿著卻平凡的男子點亮了我的生活, 從見到他的第一眼我變愛上了他. 他是如此幽默與風趣, 不高傲卻有自信, 身為糕點師的他總是能照著我的要求做出我喜愛的甜點.. 還記得那天清晨, 我莫名的有精神便不自主的到庭院裡走走, 聞到的卻是甜甜的香味, 這股味道吸引了我, 接著一個令我陶醉的歌聲傳加著承諾與誓言傳進我的腦海, 抓住了我的身體, 牢牢的扎進了我的心臟. 我告訴我自己他將是我一生的摯愛. 甜美的滋味總是短暫的, 就像蛋糕一樣, 小巧而使人難以忘懷. 弟弟梅森發現了我和廚子的交往, 只管和父親通風報信以得獎賞. 終於家裡的戰爭一觸擊發, 不可收拾, 就在我發現糕點師身上的傷口時, 我馬上覺得有些不對勁, 雖然他不斷的跟我說那是他自己不小心弄傷的, 但傷口的數量日漸增加.
使得我的愛情走向死亡的道路, 正紅的玫瑰瞬間凋謝; 清晨的陽光不在出現
. 同時家中也安排了一位與我地位匹配, 出身世家的紳士給我, 是一位身材中等卻肩膀寬闊, 皮膚黝黑卻如銅一般的發亮, 容貌險峻, 眉頭緊蹙的紳士, 他不常私下與我見面或是交談, 對我的態度並不像是其他男士那樣積極主動. 我被禁止了與那糕點師的任何交往, 因為這會壞了我們家的名聲, 比起來父親更希望我能與他所安排的這位紳士成親. 現實抹滅了我對愛情的幻想, 在父親與弟弟的斥責, 威脅, 與聳恿之下, 我接受這位父親所安排的結婚對象, 對那糕點師死心且認命,
同時眼前的紳士似乎也有著幾分魅力, 一天晚上, 他牽起了我的手, 與我不斷的在金碧輝煌的大堂里旋轉著, 隨著音樂的演奏與節奏的變換, 我們將各種舞步都瀏覽了一回. 同時愛情的誓言隨著音樂在我的耳邊響起, 此時的我屈服於父親的命令, 同時也為了家族的名譽, 伴隨著家人的支持, 踏入上了紅地毯, 在眾人的祝福下結了婚. 人們所不知的, 婚禮的背後有著我與父親的約定, 由這場婚禮換去糕點師一輩子安穩的生活, 同時我也將自己的未來交付給了為我帶上戒指的那個人, 愛得華. 羅切絲特先生.
在這段婚姻中, 我卻找不到那真誠的愛, 愛德華的高傲與自大漸漸顯現出來, 對我的批判或是一些低賤的話語也時不時的出現在我耳邊, 婚前的那些誓言全部化為烏有, 現實使我無法回頭, 甚至讓我懷疑這場婚姻的基礎在於金錢. 就算後悔也無法回頭, 酒精成了解藥, 使我能短暫的逃離現實. 醫生宣判我為一個瘋子, 使的我在親戚朋友面前抬不起頭, 我被帶離了我的家鄉到了陌生的土地上, 被軟禁在一個庄園裡的三樓小房間, 每天腦海裡迴繞的都是丈夫給我的不實控訴與不公平的待遇和命令, 這棟莊園是個使我痛苦的牢籠, 庄園的主人則是將我推下懸捱的兇手. 他的喊叫增加了我對現實的贈恨, 與後悔. 跳下去的一瞬間, 我聞到了藍莓派的香甜味.
范文二：《简爱》赏析
龙源期刊网 http://www.qikan.com.cn
《简爱》赏析
作者：张文璐
来源：《文学教育·中旬版》2013年第08期
[摘 要] 作为英国文学史上一部经典之作，《简爱》自问世以来，一直有着经久不衰的的魅力。它成功的塑造了一个经典的、优秀的妇女形象，敢于争取平等和自由，有着不屈的反抗精神。简爱这个人物形象一直备受读者的喜爱和推崇，今天重读简爱，对其曲折感人、可歌可泣的爱情故事和饱受磨难的生活经历进行解读，我们能够看出，简爱的心理历程是理智和情感交织的，而正是有着矛盾纠结、挫折复杂的情感经历，才让他最终获得了的高尚而完美的爱情。
[关键词] 情感；理智；《简爱》
《简爱》这部伟大的作品是由英国作家夏洛蒂·勃朗特创作。这篇小说自从问世以来，一直散发着炫目的光彩。小说创作的时代背景为英国工业革命后期，通过对主人公简爱人生经历的叙述，并描写他曲折感人的爱情故事，成功的塑造了一个有着低微的出身和曲折的生活道路，但却不屈服于命运、追求自由和解放，为了争取幸福和美好的爱情，而不屈不挠奋斗的女性形象。
一、简爱的人生经历
1、简爱的成长经历
小说的主人公简爱是一个孤女，从小就失去了父母，一直过着寄人篱下的屈辱生活。十岁那年，她被送到了寄宿学校，并在那里开始了她的学习和教师生涯。艰苦而严格的生活环境、死水般单调又枯燥的生活，让简爱无比厌倦，但她仍旧坚持了八年的时间。十八岁那年，她通过报纸广告的介绍，来到了一个陌生的环境，成为了桑菲尔德庄园的一名家庭教师，简爱的爱情故事也就从这里拉开了序幕。简爱和庄园的主人罗切斯特相恋，然而在他们举行婚礼的时刻，一个意外的消息几乎让简爱的精神处于崩溃的边缘，原来罗切斯特竟然是有妇之夫。在巨大的打击之下，简爱选择了不辞而别。在陌生的地方。简爱穷困潦倒、饥寒交迫，后幸亏表姐和表兄的搭救。简爱一直旧情难忘，在拒绝了圣约翰的求婚之后，思念心切的她再次回到了桑菲尔德庄园。然而这里已经是面目全非。一场无情的大伙使庄园毁于一旦，罗切斯特的妻子也在大火中丧生。侥幸活下来的罗切斯特变成了残疾，然而简爱对爱情坚贞不渝，这一对患难情人，在经历了感情的沉淀和岁月的磨砺之后，终于幸福牵手。
2、简爱的爱情故事
这本小说，除了描写了简爱不幸的童年、艰苦的学习生活，和圣约翰兄妹的感情纠葛和共同的生活经历之外，其余浓墨重彩描写的，都是简爱与罗切斯特的爱情故事。小说中简爱的爱
范文三：简爱赏析
题目：《简爱》赏析
班级：09级外语系英语教育
学号：200905023047
姓名：樊 霞
简爱赏析
文章摘要：《简爱》这本书是英国及整个世界文学史上的金典传世佳作。它似一缕亮丽的晨曦，不仅灿烂了十九世纪英国文学的天空而且以其独特的魅力穿越时空一百六十年来温润着每一位读者的心田。它通过一个孤女坎坷不平的人生道路成功地塑造了一个不安现状、不干受辱、自尊自爱、自立自强、敢于抗争、敢于追求的女性形象。它也反映了一个平凡心灵的坦诚倾述。
夏洛蒂·勃朗特（Charlotte Bronte,1816-1855）出生在英国北部的一个偏僻的小山村里，她是乡村教师帕特里克·勃朗特的第三个孩子。早年丧母，在她年幼的时候她的姐姐因生病去世。她和她的妹妹最爱好的是写作相继发表了著名的《简爱》、《呼啸山庄》。一八五四年的六月，三十八岁的夏洛蒂克服父亲的反对和一位牧师结了婚。可是在六个月的一天，夏洛蒂和丈夫在山涧看瀑布在归途中遇雨受寒最终离开了人世，还带去了一个尚未出世的婴儿。
《简爱》是一本用第一人称叙述的自传体小说，书中许多情节都取材自作者的亲身经历，凝聚了作者的内心感受。真实的再现了作者三十年的坎坷遭遇和勇敢追求，细腻的叙述了女主人公艰难的生存状态和复杂的心理活动及反对人性的压抑和摧残赞扬了妇女独立自主自尊自强的精神。在将近一百五十年前维多利亚时代的英国，社会上贵族富豪踌躇满志、神甫教士“神恩”浩荡、等级森严、习俗累累、金钱第一、男权至上的社会里女主人公靠自己的正直品德和聪明才智批评了宗教事业、嘲笑社会风习、藐视地位财力主张男女平等无疑是给了人们莫大的鼓励。她也给了我太多的感动。
作者在书中用到了大量的内心独白。如当她因为还击里德少爷被关在红房子时她内心一阵的呐喊不公平并不断地问自己：“为什么我会活得这样苦”。这样的独白激起了她的决心让她知道采取不同寻常的方法来逃脱这难以忍受的迫害。我觉得这她这一开始的决心是最终过上幸福生活的关键。又如简爱热心的在洛武德学校当了两年教师的职务由于谭波儿小姐的结婚使他回到从前。她觉得谭波儿小姐把她在她身边的一直呼吸的那种宁静气氛随身带走了。于是她想要一份新的工作。她说工作不像“自由”“享乐”这些字眼听起来愉快但要达到这样的目的并不难只要肯动脑筋就可以达成。从她这些内心独白不难看出她对人性的珍视和对幸福的追求。简爱曾愤愤不平地说：“通常人们认为女人是非常安静的可是女人也有着和男人一样的感情。她们对于过于严肃的束缚对于过于绝对的僵滞也会和男人一样感到十分痛苦。”她也曾义正严词地对罗切斯特说：“你以为我穷、低微、
不美、矮小我就没有灵魂没有信了吗？你错了，我跟你一样有灵魂也完全一样有一颗心！这深化了作者在社会、生活、爱情、婚姻、宗教上都在维护妇女独立主张男女平等的决心。”
作者在本书中巧妙地将现实主义、心理现实和社会现实交融结合在一起使这部作品丰富而又复杂达到了独特创新。如她偶遇到她的表哥表姐并要求分遗产还有装扮成老妇人等都很吸引人。当然书中一桌一椅、一花一草都不是简单的为了描写环境而是倾注了作者的所有喜怒哀乐。
喜欢《简爱》最主要是从她的复杂的人生呈现在我面前的是一种动人心弦感人至上的爱。虽经历不幸却热爱生活，并把爱带给每一个需要她的人。为了自己爱的信念，平等的真实纯粹的爱她不断努力去争取。在我心中简爱就是一个充满智慧充满爱心并努力使自己生命得到最大张扬的精灵。她的生命有如彗星的闪亮和美丽。我希望阳光下地每一个人都像她一样有美好的心灵和充实的心胸，都有独立的人格和坚强的个性。
范文四：赏析《简爱》
赏析《简爱》
《简爱》是一部极富浪漫主义和现实主义色彩的影片。这部影片主要记叙了简和罗切斯特的曲折爱情故事。
影片开头从简离开罗切斯特说起，当时的简非常痛苦与绝望，这为读者设置了一个悬念。然后影片描述了简悲惨的童年生活。简从小父母双亡，又受到了她表哥和舅妈的虐待。这种寄人篱下的悲惨生活锻造出了一个勇敢倔强，坚强不屈的简。之后简又被送到洛德学校读书，实际上是被变相的赶出了家门。在那所学校里，简感受到了严厉的校规和人性的冷漠。她不仅学到了知识，还学会了如何去思考。同时她也见证了她的好朋友因为生病而死去。这一切使得简便的独立成熟，坚强和敢于反抗。
受尽折磨和欺凌至成年后的简去了桑恩费尔德当了一名家庭教师。由于长时间的了解，简爱上了那个高深莫测，时而冷漠时而忧郁的庄主罗切斯特。当时的简没有金钱也没有地位，简与罗切斯特彼此相爱，但就在他们结婚之前，简得知罗切斯特的前妻是一个疯女人。简无法接受这一点，虽然她爱罗切斯特，但她仍然选择了离开。从这里我们可以看出简是一个追求平等幸福和有思想有主见有尊严的女人。
影片至此进入了开头所描述的情景，离开罗切斯特后，两个人都非常痛苦，之后简被她的表哥圣约翰所救，并由圣约翰介绍了一个乡村教师的职位，此时的简仍日夜思念着她深爱着的罗切斯特，而此时的圣约翰也爱上了这个有思想有主见，独立成熟的女人——简。当他去印度传教的临行前，他向简求婚并遭到了简的拒绝。这里我们可以看到一个对爱情忠贞的简。
由于对罗切斯特的思念日益剧增，简后来又选择回到罗切斯特身边。可昔日美好的庄园此时已是一片废墟，罗切斯特被烧伤了一只手并且双目失明。重逢的恋人最终紧紧地相拥在了一起。
简与罗切斯特的爱情故事是曲折的，同时它也是浪漫感人的。从这部影片中，我们看到了一个敢于反抗、敢于争取自由与平等幸福的简，她对生活的信心与坚强不屈，对爱人的忠贞让我们深深地感动与折服。从中我们可以领悟到：我们应该努力追寻自己想要的幸福生活，不管现实如何残酷，只要努力争取，幸福一定会如期而至。 Do my best for happiness!
范文五：简爱赏析
The role and standing of women in the Victorian era is considered by Bront? in Jane Eyre, specifically in regard to Jane's independence and ability to make decisions for herself. As a young woman, small and of relatively low social standing, Jane encounters men during her journey, of good, bad, and morally debatable character. However, many of them, no matter their ultimate intentions, attempt to establish some form of power and control over Jane. One example can be seen in Mr. Rochester, a man who ardently loves Jane, but who frequently commands and orders Jane about. As a self-assured and established man, and her employer, Mr. Rochester naturally assumes the position of the master in their relationship. He sometimes demands rather than questioning Jane, tries to manipulate and assess her feelings towards him, and enjoys propping up Jane through excessive gifts and luxuries that only he would have been able to provide. Jane, however, believes in the importance of women's independence, and strives to maintain a position in life devoid of any debts to others. Her initial lack of money and social status unnerves her, as she realises that without the means to be an independent woman, she is bound to either struggle through life trying to make a living or marry and become dependent on a man. Even after Jane agrees to marry Mr. Rochester, and is swept up in the passion of the moment, the feminist elements of her personality still show through. She is uncomfortable with the showering of lavish gifts, as she resents that they will make her further reliant on and in debt to Mr. Rochester, and thus tries to resist them. Furthermore, Jane asserts that even after she is married to Mr. Rochester, she will continue to be Adèle's governess and earn her keep. This plan, which was entirely radical and unheard of for the time, further illustrates Jane's drive to remain a somewhat independent woman. While the significant men present in Jane's life throughout the novel all try to, in some form or another, establish themselves as dominant over Jane, she in most cases remains resistant at least to a certain degree, refusing to submit fully or lose all of her independence. This final adherence to her strong convictions on the independence of women point out Bront?'s similar views on the patriarchal Victorian society of the time.
Search for home and family[edit source | editbeta]
Without any living family that she is aware of (until well into the story), throughout the course of the novel Jane searches for a place that she can call home. Significantly, houses play a
prominent part in the story. (In keeping with a long English tradition, all the houses in the book have names). The novel's opening finds Jane living at Gateshead Hall, but this is hardly a home. Mrs. Reed and her children refuse to acknowledge her as a relation, treating her instead as an unwanted intruder and an inferior.
Shunted off to Lowood Institution, a boarding school for orphans and destitute children, Jane finds a home of sorts, although her place here is ambiguous and temporary. The school's manager, Mr. Brocklehurst, treats it more as a business than as school in loco parentis (in place of the parent). His emphasis on discipline and on spartan conditions at the expense of the girls' health make it the antithesis of the ideal home.
Jane subsequently believes she has found a home at Thornfield Hall. Anticipating the worst when she arrives, she is relieved when she is made to feel welcome by Mrs. Fairfax. She feels genuine affection for Adèle (who in a way is also an orphan) and is happy to serve as her governess. As her love for Mr. Rochester grows, she believes that she has found her ideal
husband in spite of his eccentric manner and that they will make a home together at Thornfield. The revelation – as they are on the verge of marriage – that he is already legally married – brings her dream of home crashing down. Fleeing Thornfield, she literally becomes homeless and is reduced to begging for food and shelter. The opportunity of having a home presents itself when she enters Moor House, where the Rivers sisters and their brother, the Reverend St. John Rivers, are mourning the death of their father. She soon speaks of Diana and Mary Rivers as her own sisters, and is overjoyed when she learns that they are indeed her cousins. She tells St. John Rivers that learning that she has living relations is far more important than inheriting twenty thousand pounds. (She mourns the uncle she never knew. Earlier she was disheartened on learning that Mrs. Reed told her uncle that Jane had died and sent him away.) However, St. John Rivers' offer of marriage cannot sever her emotional attachment to Rochester. In an almost visionary episode, she hears Mr. Rochester's voice calling her to
return to him. The last chapter begins with the famous simple declarative sentence, "Reader, I married him," and after a long series of travails Jane's search for home and family ends in a union with her ideal mate.
Gender Relations
Jane struggles continually to achieve equality and to overcome oppression. In addition to class hierarchy, she must fight against patriarchal domination—against those who believe women to be inferior to men and try to treat them as such. Three central male figures threaten her desire for equality and dignity: Mr. Brocklehurst, Edward Rochester, and St. John Rivers. All three are misogynistic on some level. Each tries to keep Jane in a
submissive position, where she is unable to express her own thoughts and feelings. In her quest for independence and self-knowledge, Jane must escape Brocklehurst, reject St. John, and come to Rochester only after ensuring that they may marry as equals. This last condition is met once Jane proves herself able to function, through the time she spends at Moor House, in a community and in a family. She will not depend solely on Rochester for love and she can be financially independent. Furthermore, Rochester is blind at the novel’s end and thus dependent upon Jane to be his ―prop and guide.‖ In Chapter 12, Jane articulates what was for her time a radically feminist philosophy:
Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex.
