橋邊老人原文多少字

1. 美國海明威的《橋邊的老人》 的簡介

一個戴鋼絲邊眼鏡的老人坐在路旁，衣服上盡是塵土。河
上搭著一座浮橋，大車、卡車、男人、女人和孩子們在涌過
橋去。騾車從橋邊蹣跚地爬上陡坡，一些士兵扳著輪輻在幫
著推車。卡車嘎嘎地駛上斜坡就開遠了，把一切拋在後面，而
農夫們還在齊到腳踝的塵土中躑躅著。但那個老人卻坐在那
里，一動也不動。他太累，走不動了。
我的任務是過橋去偵察對岸的橋頭堡，查明敵人究竟推
進到了什麼地點。完成任務後，我又從橋上回到原處。這時
車輛已經不多了，行人也稀稀落落，可是那個老人還在原處。
"你從哪兒來？"我問他。
"從聖卡洛斯來，"他說著，露出笑容。
那是他的故鄉，提到它，老人便高興起來，微笑了。
"那時我在看管動物，"他對我解釋。
"噢，"我說，並沒有完全聽懂。
"唔，"他又說，"你知道，我待在那兒照料動物。我是最
後一個離開聖卡洛斯的。"
他看上去既不象牧羊的，也不象管牛的。我瞧著他滿是
灰塵的黑衣服、盡是塵土的灰色面孔，以及那副鋼絲邊眼鏡，
問道，"什麼動物？"
"各種各樣，"他搖著頭說，"唉，只得把它們拋下了。"
我凝視著浮橋，眺望充滿非洲色彩的埃布羅河①三角洲
地區，尋思究竟要過多久才能看到敵人，同時一直傾聽著，期
待第一陣響聲，它將是一個信號，表示那神秘莫測的遭遇戰
即將爆發，而老人始終坐在那裡。
"什麼動物？"我又問道。
"一共三種，"他說，"兩只山羊，一隻貓，還有四對鴿子。"
"你只得拋下它們了？"我問。
"是啊。怕那些大炮呀。那個上尉叫我走，他說炮火不饒
人哪。"
"你沒家？"我問，邊注視著浮橋的另一頭，那兒最後幾
輛大車正匆忙地駛下河邊的斜坡。
"沒家，"老人說，"只有剛才講過的那些動物。貓，當然
不要緊。貓會照顧自己的，可是，另外幾只東西怎麼辦呢？我
簡直不敢想。"
"你的政治態度怎樣？"我問。
"政治跟我不相干，"他說，"我七十六歲了。我已經走了
十二公里，我想我現在再也走不動了。"
"這兒可不是久留之地，"我說，"如果你勉強還走得動，

①埃布羅河：西班牙境內最長的一條河。

那邊通向托爾托薩①的岔路上有卡車。"
"我要待一會，然後再走，"他說，"卡車往哪兒開？"
"巴塞羅那，"我告訴他。②
"那邊我沒有熟人，"他說，"不過我非常感謝你。再次非
常感謝你。"
他疲憊不堪地茫然瞅著我，過了一會又開口，為了要別
人分擔他的憂慮，"貓是不要緊的，我拿得穩。不用為它擔心。
可是，另外幾只呢，你說它們會怎麼樣？"
"噢，它們大概挨得過的。"
"你這樣想嗎？"
"當然，"我邊說邊注視著遠處的河岸，那裡已經看不見
大車了。
"可是在炮火下它們怎麼辦呢？人家叫我走，就是因為要
開炮了。"
"鴿籠沒鎖上吧？"我問。
"沒有。"
"那它們會飛出去的。"
"嗯，當然會飛。可是山羊呢？唉，不想也罷，"他說。
"要是你歇夠了，我得走了，"我催他。"站起來，走走看。"
"謝謝你，"他說著撐起來，搖晃了幾步，向後一仰，終
於又在路旁的塵土中坐了下去。
"那時我在照看動物，"他木然地說，可不再是對著我講

①托爾托薩：西班牙塔拉戈納省城市。
②巴塞羅那：西班牙最大的港市。

了。
"我只是在照看動物。"
對他毫無辦法。那天是復活節的禮拜天，法西斯正在向
埃布羅挺進。可是天色陰沉，烏雲密布，法西斯飛機沒能起
飛。這一點，再加上貓會照顧自己，或許就是這位老人僅有
的幸運吧。

宗 白譯

2. 《橋邊的老人》一課的主要內容

主要內容：
《橋邊的老人》實在是一篇小品：僅由一幅畫面、一段對話構成，格局之小，筆法之簡練，在宏大戰爭主題的小說林中，可以說微不足道，但《橋邊的老人》彷彿一個小小的窗口，以小見大地揭示出戰爭的殘忍、罪惡，顯示出戰火紛飛的年代裡人性的善良——對生命的尊重與對和平的渴望。

3. 求橋邊的老人原文

望採納
An old man with steel rimmed spectacles and very sty clothes sat by the side of the road. There was a pontoon bridge across the river and carts, trucks, and men, women and children were crossing it. The mule-drawn carts staggered up the steep bank from the bridge with soldiers helping push against the spokes of the wheels. The trucks ground up and away heading out of it all and the peasants plodded along in the ankle deep st. But the old man sat there without moving. He was too tired to go any farther.
It was my business to cross the bridge, explore the bridgehead beyond and find out to what point the enemy had advanced. I did this and returned over the bridge. There were not so many carts now and very few people on foot, but the old man was still there.

"Where do you come from?" I asked him.
"From San Carlos," he said, and smiled.

That was his native town and so it gave him pleasure to mention it and he smiled.

"I was taking care of animals," he explained.
"Oh," I said, not quite understanding.
"Yes," he said, "I stayed, you see, taking care of animals. I was the last one to leave the town of San Carlos."

He did not look like a shepherd nor a herdsman and I looked at his black sty clothes and his gray sty face and his steel rimmed spectacles and said, "What animals were they?"
"Various animals," he said, and shook his head. "I had to leave them."

I was watching the bridge a nd the African looking country of the Ebro Delta and wondering how long now it would be before we would see the enemy, and listening all the while for the first noises that would signal that ever mysterious event called contact, and the old man still sat there.

"What animals were they?" I asked.
"There were three animals altogether," he explained. "There were two goats and a cat and then there were four pairs of pigeons."
And you had to leave them?" I asked.
"Yes. Because of the artillery. The captain told me to go because of the artillery."
"And you have no family?" I asked, watching the far end of the bridge where a few last carts were hurrying down the slope of the bank.
"No," he said, "only the animals I stated. The cat, of course, will be all right. A cat can look out for itself, but I cannot think what will become of the others."
"What politics have you?" I asked.
"I am without politics," he said. "I am seventy-six years old. I have come twelve kilometers now and I think now I can go no further."
"This is not a good place to stop," I said. "If you can make it, there are trucks up the road where it forks for Tortosa."
"I will wait a while," he said, " and then I will go. Where do the trucks go?"
"Towards Barcelona," I told him.
"I know no one in that direction," he said, "but thank you very much. Thank you again very much."

He looked at me very blankly and tiredly, and then said, having to share his worry with someone, "The cat will be all right, I am sure. There is no need to be unquiet about the cat. But the others. Now what do you think about the others?"
"Why they'll probably come through it all right."
"You think so?"
"Why not," I said, watching the far bank where now there were no carts.
"But what will they do under the artillery when I was told to leave because of the artillery?"
"Did you leave the dove cage unlocked?" I asked.
"Yes."
"Then they'll fly."
"Yes, certainly they'll fly. But the others. It's better not to think about the others," he said.
"If you are rested I would go," I urged. "Get up and try to walk now."
"Thank you," he said and got to his feet, swayed from side to side and then sat down backwards in the st.
"I was taking care of animals," he said lly, but no longer to me. "I was only taking care of animals."

There was nothing to do about him. It was Easter Sunday and the Fascists were advancing toward the Ebro. It was a gray overcast day with a low ceiling so their planes were not up. That and the fact that cats know how to look after themselves was all the good luck that old man would ever have.嘎嘎地駛上斜坡就開遠了，把一切拋在後面，而農夫們還在齊到腳踝的塵土中躑躅著。但那個老人卻坐在那裡，一動也不動。他太累，走不動了。

我的任務是過橋去偵察對岸的橋頭堡，查明敵人究竟推進到了什麼地點。完成任務後，我又從橋上回到原處。這時車輛已經不多了，行人也稀稀落落，可是那個老人還在原處。

"你從哪兒來？"我問他。

"從聖卡洛斯來，"他說著，露出笑容。

那是他的故鄉，提到它，老人便高興起來，微笑了。

"那時我在看管動物，"他對我解釋。

"噢，"我說，並沒有完全聽懂。

"唔，"他又說，"你知道，我待在那兒照料動物。我是最後一個離開聖卡洛斯的。"

他看上去既不象牧羊的，也不象管牛的。我瞧著他滿是灰塵的黑衣服、盡是塵土的灰色面孔，以及那副鋼絲邊眼鏡，問道，"什麼動物？"

"各種各樣，"他搖著頭說，"唉，只得把它們拋下了。"

我凝視著浮橋，眺望充滿非洲色彩的埃布羅河①三角洲地區，尋思究竟要過多久才能看到敵人，同時一直傾聽著，期待第一陣響聲，它將是一個信號，表示那神秘莫測的遭遇戰即將爆發，而老人始終坐在那裡。

"什麼動物？"我又問道。

"一共三種，"他說，"兩只山羊，一隻貓，還有四對鴿子。"

"你只得拋下它們了？"我問。

"是啊。怕那些大炮呀。那個上尉叫我走，他說炮火不饒人哪。"

"你沒家？"我問，邊注視著浮橋的另一頭，那兒最後幾輛大車正匆忙地駛下河邊的斜坡。

"沒家，"老人說，"只有剛才講過的那些動物。貓，當然不要緊。貓會照顧自己的，可是，另外幾只東西怎麼辦呢？我簡直不敢想。"

"你的政治態度怎樣？"我問。

"政治跟我不相干，"他說，"我七十六歲了。我已經走了十二公里，我想我現在再也走不動了。"

"這兒可不是久留之地，"我說，"如果你勉強還走得動，那邊通向托爾托薩②的岔路上有卡車。"

"我要待一會，然後再走，"他說，"卡車往哪兒開？"

"巴塞羅那，"我告訴他。③

"那邊我沒有熟人，"他說，"不過我還是非常感謝你。"

他疲憊不堪地茫然瞅著我，過了一會又開口，為了要別人分擔他的憂慮，"貓是不要緊的，我拿得穩。不用為它擔心。可是，另外幾只呢，你說它們會怎麼樣？"

"噢，它們大概挨得過的。"

"你這樣想嗎？"

"當然，"我邊說邊注視著遠處的河岸，那裡已經看不見大車了。

"可是在炮火下它們怎麼辦呢？人家叫我走，就是因為要開炮了。"

"鴿籠沒鎖上吧？"我問。

"沒有。"

"那它們會飛出去的。"

"嗯，當然會飛。可是山羊呢？唉，不想也罷，"他說。

"要是你歇夠了，我得走了，"我催他。"站起來，走走看。" "謝謝你，"他說著撐起來，搖晃了幾步，向後一仰，終於又在路旁的塵土中坐了下去。

"那時我在照看動物，"他木然地說，可不再是對著我講了。

"我只是在照看動物。"

對他毫無辦法。那天是復活節的禮拜天，法西斯正在向埃布羅挺進。可是天色陰沉，烏雲密布，法西斯飛機沒能起飛。這一點，再加上貓會照顧自己，或許就是這位老人僅有的幸運吧。

①托爾托薩：西班牙塔拉戈納省城市。

②巴塞羅那：西班牙最大的港市。

③埃布羅河：西班牙境內最長的一條河。

4. 《橋邊的老人》應該如何賞析

文章的構思和取材是巧妙和獨特的，它不是以戰火紛飛，血腥殘酷的戰爭實景來表現該主題，而是以在戰爭即將到來前，一個相對平靜的環境下，一個孤身老人當人們競相逃命時的內心世界，冷靜而逼真地揭示出了戰爭的殘忍、罪惡。

在小說的情節安排上，作者通過將撤離人群的逐漸稀少、遠去，戰爭越來越近的緊張感與老人從始至終的緩慢平和的語調，與戰爭毫不相乾的談話內容沖突著，把小說一步步推向高潮，讓人不禁為老人的安危擔憂，也更深刻的感受到主題。

《橋邊的老人》敘述視角

採用第一人稱，可以避免作者的介入，更多的是顯示故事而不是講述故事，顯得比較親切、自然、真實。

具體說來，小說通過「我」之眼，通過「我」與老人之間的對話，尤其是老人三次嘮叨著「貓會照顧自己，這樣的細節描寫，將老人的內心之痛刻畫入微。盡管沒有一句帶有情緒化的語言，卻令我們感受到對戰爭的譴責和對和平的熱愛。

5. 海明威《橋邊的老人》英文原文

An old man with steel rimmed spectacles and very sty clothes sat by the side of the road. There was a pontoon bridge across the river and carts, trucks, and men, women and children were crossing it. The mule-drawn carts staggered up the steep bank from the bridge with soldiers helping push against the spokes of the wheels. The trucks ground up and away heading out of it all and the peasants plodded along in the ankle deep st. But the old man sat there without moving. He was too tired to go any farther.
It was my business to cross the bridge, explore the bridgehead beyond and find out to what point the enemy had advanced. I did this and returned over the bridge. There were not so many carts now and very few people on foot, but the old man was still there.

"Where do you come from?" I asked him.
"From San Carlos," he said, and smiled.

That was his native town and so it gave him pleasure to mention it and he smiled.

"I was taking care of animals," he explained.
"Oh," I said, not quite understanding.
"Yes," he said, "I stayed, you see, taking care of animals. I was the last one to leave the town of San Carlos."

He did not look like a shepherd nor a herdsman and I looked at his black sty clothes and his gray sty face and his steel rimmed spectacles and said, "What animals were they?"
"Various animals," he said, and shook his head. "I had to leave them."

I was watching the bridge and the African looking country of the Ebro Delta and wondering how long now it would be before we would see the enemy, and listening all the while for the first noises that would signal that ever mysterious event called contact, and the old man still sat there.

"What animals were they?" I asked.
"There were three animals altogether," he explained. "There were two goats and a cat and then there were four pairs of pigeons."
And you had to leave them?" I asked.
"Yes. Because of the artillery. The captain told me to go because of the artillery."
"And you have no family?" I asked, watching the far end of the bridge where a few last carts were hurrying down the slope of the bank.
"No," he said, "only the animals I stated. The cat, of course, will be all right. A cat can look out for itself, but I cannot think what will become of the others."
"What politics have you?" I asked.
"I am without politics," he said. "I am seventy-six years old. I have come twelve kilometers now and I think now I can go no further."
"This is not a good place to stop," I said. "If you can make it, there are trucks up the road where it forks for Tortosa."
"I will wait a while," he said, " and then I will go. Where do the trucks go?"
"Towards Barcelona," I told him.
"I know no one in that direction," he said, "but thank you very much. Thank you again very much."

He looked at me very blankly and tiredly, and then said, having to share his worry with someone, "The cat will be all right, I am sure. There is no need to be unquiet about the cat. But the others. Now what do you think about the others?"
"Why they'll probably come through it all right."
"You think so?"
"Why not," I said, watching the far bank where now there were no carts.
"But what will they do under the artillery when I was told to leave because of the artillery?"
"Did you leave the dove cage unlocked?" I asked.
"Yes."
"Then they'll fly."
"Yes, certainly they'll fly. But the others. It's better not to think about the others," he said.
"If you are rested I would go," I urged. "Get up and try to walk now."
"Thank you," he said and got to his feet, swayed from side to side and then sat down backwards in the st.
"I was taking care of animals," he said lly, but no longer to me. "I was only taking care of animals."

There was nothing to do about him. It was Easter Sunday and the Fascists were advancing toward the Ebro. It was a gray overcast day with a low ceiling so their planes were not up. That and the fact that cats know how to look after themselves was all the good luck that old man would ever have.

我們語文課上的這篇課文誒

6. 《橋邊的老人》中，試用第三人稱或第一人稱，描寫老人的內心世界，150字

西下的斜陽變得分外柔和，絲絲縷縷的撫摸著老人的花白蓬鬆的頭發。老人緊閉著眼睛，臉上沒有表情，佝僂枯瘦的身軀仍能看到曾經高大挺拔的身軀，整個身子倚在橋欄桿上。橋下的水波安靜的抖動著，水鱗褶起的陽光歡快的跳躍著，向老人揮動著自己獨特的手臂。這就是一個世界，一個無聲有色卻滿是柔和的世界。

7. （歌詞）橋邊的老人

        歌詞標題，與海明威的小說同名。我寫的，的確實也是一位坐在橋邊的老人。念親橋，在白蘭村白芒壩。某日，去到那兒，那種靜謐的氣息非常迷人。溪邊，坐著一位老人，很長時間，一動也不動。一個漢子，拖著竹子從山上下來，跟我們說這里已經全部是開發商的了，村民很快就得搬走，只不知是哪一天。這是趨勢，也是陣痛。幾年前，這個主題的散文讀過太多太多。我想換一種方式，吟唱著來表現同樣的情結。

8. 《橋邊的老人》中，試用第三人稱或第一人稱，描寫老人的內心世界，150字

他靜靜地注視著那彎彎的橋身，似乎有所感想。看到他那年邁的身軀，是否也像這座橋邊一樣，歷經風雨的洗禮，這個我無從得知，但他是經過革命戰爭時代的人，因為他那烔烔的眼神和蒼老的面孔卻掩飾不去歲月的愛戀。橋邊的這位老人也許正如橋一樣，為他的後人拼搏回昔日的美好歲月，

何曾幾時，他也嚮往美好的生活，歲月卻如同橋下流水般浪回東去不復返。再看橋邊的柳枝，是那樣的鮮綠，它像人們展示了

春去春回的蓬勃氣息。老人輕輕地嘆了口氣，也許是歲月無情飛逝去，一代英雄無人問的豪情蓋氣。

《橋邊的老人》取材於20世紀30年代西班牙內戰。《橋邊的老人》關注的不是英雄、正義，也不是「主義」、政治，而是戰爭中的小人物和弱者。他們是無辜的受害者。殘酷的戰爭來了，將家園、親人都無情地撕碎。在這里，戰爭成了作者的譴責對象，對生命價值的珍視更令小說充滿了悲憫的力量。

(8)橋邊老人原文多少字擴展閱讀

作品開篇通過「戴鋼絲邊眼鏡」、「塵土」、「浮橋」已經忙著逃命的車輛、人群的各種動作以單的白描手法為我們勾勒出一幅戰爭來臨前忙亂的極富寫實效果的畫面，又佐以後文對於「撐起來，搖晃了幾步，向後一仰，終於又在路邊的塵土中坐了下去」等動作的描寫。

剔透地寫出生活現實，烘托出了在人們競相逃命之際，一個朴實憨厚善良的老人形象。通過其好似不斷在重復著同樣內容的質朴語言，表現出一個既不懂政治又不懂戰爭，一個簡簡單單的飼養員，一個最普通的人在戰爭時的心態。

這與包括「我」在內的其他人面對戰爭的那種一心想著撤離的恐慌，形成鮮明的對比。這時的老人就好像一名即將坐化的老僧，表現不出一絲對死亡的畏懼，然而並非他不恐懼死亡，而是他根本不知道戰爭的來臨，死亡的即將到來，將主題表現得淋漓盡致。

老人充滿愛心，其形象閃耀著普通的人性的光輝，與踐踏人類生命的殘酷戰爭形成鮮明的對比。作者旨在呼喚人性與愛的回歸，斥責非正義戰爭給世界帶來的災難。

9. 概述橋邊的老人的故事情節

小說選取浮橋這一特定場景，寫在「涌過橋去」的逃難人群中，一個老人卻因眷戀故土和心愛的動物而不忍離去。那浮橋彷彿一個窗口，顯示出戰火紛飛的年代裡人們對於生命的尊重和對和平的渴望。
小說情節的展開、人物個性和心理展示都是通過對話來實現的。老人與小動物是弱者，是無辜的受害者，作者關注弱小生命被戰爭摧殘與扼殺，表達了對戰爭的譴責，對生命的尊重與對和平的渴望。

10. 橋邊的老人是怎樣敘述老人的故事

橋邊的老人是以「我」的視角來敘事，使事件顯得真實可信；②以總是開船晚為中心展開駕船佬的故事，能夠製造懸念，引起讀者的閱讀興趣；③少用對話形式，多用「我」的敘述，有利於對駕船佬的故事進行揭示，而且增加了小說的抒情色彩。
駕船佬為人善良慈祥，不但送孩子們去上學，對孩子們不理解的不尊敬話語也不生氣。②駕船佬心細，周圍幾個村子有幾個孩子上學他清楚，每次誰沒及時到他也清楚，總是等人齊了再開船。③駕船佬有毅力和責任感，堅持不跟兒子到城裡去生活，長期留在清溟橋邊送孩子們上學。