桥边老人原文多少字

1. 美国海明威的《桥边的老人》 的简介

一个戴钢丝边眼镜的老人坐在路旁，衣服上尽是尘土。河
上搭着一座浮桥，大车、卡车、男人、女人和孩子们在涌过
桥去。骡车从桥边蹒跚地爬上陡坡，一些士兵扳着轮辐在帮
着推车。卡车嘎嘎地驶上斜坡就开远了，把一切抛在后面，而
农夫们还在齐到脚踝的尘土中踯躅着。但那个老人却坐在那
里，一动也不动。他太累，走不动了。
我的任务是过桥去侦察对岸的桥头堡，查明敌人究竟推
进到了什么地点。完成任务后，我又从桥上回到原处。这时
车辆已经不多了，行人也稀稀落落，可是那个老人还在原处。
"你从哪儿来？"我问他。
"从圣卡洛斯来，"他说着，露出笑容。
那是他的故乡，提到它，老人便高兴起来，微笑了。
"那时我在看管动物，"他对我解释。
"噢，"我说，并没有完全听懂。
"唔，"他又说，"你知道，我待在那儿照料动物。我是最
后一个离开圣卡洛斯的。"
他看上去既不象牧羊的，也不象管牛的。我瞧着他满是
灰尘的黑衣服、尽是尘土的灰色面孔，以及那副钢丝边眼镜，
问道，"什么动物？"
"各种各样，"他摇着头说，"唉，只得把它们抛下了。"
我凝视着浮桥，眺望充满非洲色彩的埃布罗河①三角洲
地区，寻思究竟要过多久才能看到敌人，同时一直倾听着，期
待第一阵响声，它将是一个信号，表示那神秘莫测的遭遇战
即将爆发，而老人始终坐在那里。
"什么动物？"我又问道。
"一共三种，"他说，"两只山羊，一只猫，还有四对鸽子。"
"你只得抛下它们了？"我问。
"是啊。怕那些大炮呀。那个上尉叫我走，他说炮火不饶
人哪。"
"你没家？"我问，边注视着浮桥的另一头，那儿最后几
辆大车正匆忙地驶下河边的斜坡。
"没家，"老人说，"只有刚才讲过的那些动物。猫，当然
不要紧。猫会照顾自己的，可是，另外几只东西怎么办呢？我
简直不敢想。"
"你的政治态度怎样？"我问。
"政治跟我不相干，"他说，"我七十六岁了。我已经走了
十二公里，我想我现在再也走不动了。"
"这儿可不是久留之地，"我说，"如果你勉强还走得动，

①埃布罗河：西班牙境内最长的一条河。

那边通向托尔托萨①的岔路上有卡车。"
"我要待一会，然后再走，"他说，"卡车往哪儿开？"
"巴塞罗那，"我告诉他。②
"那边我没有熟人，"他说，"不过我非常感谢你。再次非
常感谢你。"
他疲惫不堪地茫然瞅着我，过了一会又开口，为了要别
人分担他的忧虑，"猫是不要紧的，我拿得稳。不用为它担心。
可是，另外几只呢，你说它们会怎么样？"
"噢，它们大概挨得过的。"
"你这样想吗？"
"当然，"我边说边注视着远处的河岸，那里已经看不见
大车了。
"可是在炮火下它们怎么办呢？人家叫我走，就是因为要
开炮了。"
"鸽笼没锁上吧？"我问。
"没有。"
"那它们会飞出去的。"
"嗯，当然会飞。可是山羊呢？唉，不想也罢，"他说。
"要是你歇够了，我得走了，"我催他。"站起来，走走看。"
"谢谢你，"他说着撑起来，摇晃了几步，向后一仰，终
于又在路旁的尘土中坐了下去。
"那时我在照看动物，"他木然地说，可不再是对着我讲

①托尔托萨：西班牙塔拉戈纳省城市。
②巴塞罗那：西班牙最大的港市。

了。
"我只是在照看动物。"
对他毫无办法。那天是复活节的礼拜天，法西斯正在向
埃布罗挺进。可是天色阴沉，乌云密布，法西斯飞机没能起
飞。这一点，再加上猫会照顾自己，或许就是这位老人仅有
的幸运吧。

宗 白译

2. 《桥边的老人》一课的主要内容

主要内容：
《桥边的老人》实在是一篇小品：仅由一幅画面、一段对话构成，格局之小，笔法之简练，在宏大战争主题的小说林中，可以说微不足道，但《桥边的老人》仿佛一个小小的窗口，以小见大地揭示出战争的残忍、罪恶，显示出战火纷飞的年代里人性的善良——对生命的尊重与对和平的渴望。

3. 求桥边的老人原文

望采纳
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.嘎嘎地驶上斜坡就开远了，把一切抛在后面，而农夫们还在齐到脚踝的尘土中踯躅着。但那个老人却坐在那里，一动也不动。他太累，走不动了。

我的任务是过桥去侦察对岸的桥头堡，查明敌人究竟推进到了什么地点。完成任务后，我又从桥上回到原处。这时车辆已经不多了，行人也稀稀落落，可是那个老人还在原处。

"你从哪儿来？"我问他。

"从圣卡洛斯来，"他说着，露出笑容。

那是他的故乡，提到它，老人便高兴起来，微笑了。

"那时我在看管动物，"他对我解释。

"噢，"我说，并没有完全听懂。

"唔，"他又说，"你知道，我待在那儿照料动物。我是最后一个离开圣卡洛斯的。"

他看上去既不象牧羊的，也不象管牛的。我瞧着他满是灰尘的黑衣服、尽是尘土的灰色面孔，以及那副钢丝边眼镜，问道，"什么动物？"

"各种各样，"他摇着头说，"唉，只得把它们抛下了。"

我凝视着浮桥，眺望充满非洲色彩的埃布罗河①三角洲地区，寻思究竟要过多久才能看到敌人，同时一直倾听着，期待第一阵响声，它将是一个信号，表示那神秘莫测的遭遇战即将爆发，而老人始终坐在那里。

"什么动物？"我又问道。

"一共三种，"他说，"两只山羊，一只猫，还有四对鸽子。"

"你只得抛下它们了？"我问。

"是啊。怕那些大炮呀。那个上尉叫我走，他说炮火不饶人哪。"

"你没家？"我问，边注视着浮桥的另一头，那儿最后几辆大车正匆忙地驶下河边的斜坡。

"没家，"老人说，"只有刚才讲过的那些动物。猫，当然不要紧。猫会照顾自己的，可是，另外几只东西怎么办呢？我简直不敢想。"

"你的政治态度怎样？"我问。

"政治跟我不相干，"他说，"我七十六岁了。我已经走了十二公里，我想我现在再也走不动了。"

"这儿可不是久留之地，"我说，"如果你勉强还走得动，那边通向托尔托萨②的岔路上有卡车。"

"我要待一会，然后再走，"他说，"卡车往哪儿开？"

"巴塞罗那，"我告诉他。③

"那边我没有熟人，"他说，"不过我还是非常感谢你。"

他疲惫不堪地茫然瞅着我，过了一会又开口，为了要别人分担他的忧虑，"猫是不要紧的，我拿得稳。不用为它担心。可是，另外几只呢，你说它们会怎么样？"

"噢，它们大概挨得过的。"

"你这样想吗？"

"当然，"我边说边注视着远处的河岸，那里已经看不见大车了。

"可是在炮火下它们怎么办呢？人家叫我走，就是因为要开炮了。"

"鸽笼没锁上吧？"我问。

"没有。"

"那它们会飞出去的。"

"嗯，当然会飞。可是山羊呢？唉，不想也罢，"他说。

"要是你歇够了，我得走了，"我催他。"站起来，走走看。" "谢谢你，"他说着撑起来，摇晃了几步，向后一仰，终于又在路旁的尘土中坐了下去。

"那时我在照看动物，"他木然地说，可不再是对着我讲了。

"我只是在照看动物。"

对他毫无办法。那天是复活节的礼拜天，法西斯正在向埃布罗挺进。可是天色阴沉，乌云密布，法西斯飞机没能起飞。这一点，再加上猫会照顾自己，或许就是这位老人仅有的幸运吧。

①托尔托萨：西班牙塔拉戈纳省城市。

②巴塞罗那：西班牙最大的港市。

③埃布罗河：西班牙境内最长的一条河。

4. 《桥边的老人》应该如何赏析

文章的构思和取材是巧妙和独特的，它不是以战火纷飞，血腥残酷的战争实景来表现该主题，而是以在战争即将到来前，一个相对平静的环境下，一个孤身老人当人们竞相逃命时的内心世界，冷静而逼真地揭示出了战争的残忍、罪恶。

在小说的情节安排上，作者通过将撤离人群的逐渐稀少、远去，战争越来越近的紧张感与老人从始至终的缓慢平和的语调，与战争毫不相干的谈话内容冲突着，把小说一步步推向高潮，让人不禁为老人的安危担忧，也更深刻的感受到主题。

《桥边的老人》叙述视角

采用第一人称，可以避免作者的介入，更多的是显示故事而不是讲述故事，显得比较亲切、自然、真实。

具体说来，小说通过“我”之眼，通过“我”与老人之间的对话，尤其是老人三次唠叨着“猫会照顾自己，这样的细节描写，将老人的内心之痛刻画入微。尽管没有一句带有情绪化的语言，却令我们感受到对战争的谴责和对和平的热爱。

5. 海明威《桥边的老人》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.

我们语文课上的这篇课文诶

6. 《桥边的老人》中，试用第三人称或第一人称，描写老人的内心世界，150字

西下的斜阳变得分外柔和，丝丝缕缕的抚摸着老人的花白蓬松的头发。老人紧闭着眼睛，脸上没有表情，佝偻枯瘦的身躯仍能看到曾经高大挺拔的身躯，整个身子倚在桥栏杆上。桥下的水波安静的抖动着，水鳞褶起的阳光欢快的跳跃着，向老人挥动着自己独特的手臂。这就是一个世界，一个无声有色却满是柔和的世界。

7. （歌词）桥边的老人

        歌词标题，与海明威的小说同名。我写的，的确实也是一位坐在桥边的老人。念亲桥，在白兰村白芒坝。某日，去到那儿，那种静谧的气息非常迷人。溪边，坐着一位老人，很长时间，一动也不动。一个汉子，拖着竹子从山上下来，跟我们说这里已经全部是开发商的了，村民很快就得搬走，只不知是哪一天。这是趋势，也是阵痛。几年前，这个主题的散文读过太多太多。我想换一种方式，吟唱着来表现同样的情结。

8. 《桥边的老人》中，试用第三人称或第一人称，描写老人的内心世界，150字

他静静地注视着那弯弯的桥身，似乎有所感想。看到他那年迈的身躯，是否也像这座桥边一样，历经风雨的洗礼，这个我无从得知，但他是经过革命战争时代的人，因为他那烔烔的眼神和苍老的面孔却掩饰不去岁月的爱恋。桥边的这位老人也许正如桥一样，为他的后人拼搏回昔日的美好岁月，

何曾几时，他也向往美好的生活，岁月却如同桥下流水般浪回东去不复返。再看桥边的柳枝，是那样的鲜绿，它像人们展示了

春去春回的蓬勃气息。老人轻轻地叹了口气，也许是岁月无情飞逝去，一代英雄无人问的豪情盖气。

《桥边的老人》取材于20世纪30年代西班牙内战。《桥边的老人》关注的不是英雄、正义，也不是“主义”、政治，而是战争中的小人物和弱者。他们是无辜的受害者。残酷的战争来了，将家园、亲人都无情地撕碎。在这里，战争成了作者的谴责对象，对生命价值的珍视更令小说充满了悲悯的力量。

(8)桥边老人原文多少字扩展阅读

作品开篇通过“戴钢丝边眼镜”、“尘土”、“浮桥”已经忙着逃命的车辆、人群的各种动作以单的白描手法为我们勾勒出一幅战争来临前忙乱的极富写实效果的画面，又佐以后文对于“撑起来，摇晃了几步，向后一仰，终于又在路边的尘土中坐了下去”等动作的描写。

剔透地写出生活现实，烘托出了在人们竞相逃命之际，一个朴实憨厚善良的老人形象。通过其好似不断在重复着同样内容的质朴语言，表现出一个既不懂政治又不懂战争，一个简简单单的饲养员，一个最普通的人在战争时的心态。

这与包括“我”在内的其他人面对战争的那种一心想着撤离的恐慌，形成鲜明的对比。这时的老人就好像一名即将坐化的老僧，表现不出一丝对死亡的畏惧，然而并非他不恐惧死亡，而是他根本不知道战争的来临，死亡的即将到来，将主题表现得淋漓尽致。

老人充满爱心，其形象闪耀着普通的人性的光辉，与践踏人类生命的残酷战争形成鲜明的对比。作者旨在呼唤人性与爱的回归，斥责非正义战争给世界带来的灾难。

9. 概述桥边的老人的故事情节

小说选取浮桥这一特定场景，写在“涌过桥去”的逃难人群中，一个老人却因眷恋故土和心爱的动物而不忍离去。那浮桥仿佛一个窗口，显示出战火纷飞的年代里人们对于生命的尊重和对和平的渴望。
小说情节的展开、人物个性和心理展示都是通过对话来实现的。老人与小动物是弱者，是无辜的受害者，作者关注弱小生命被战争摧残与扼杀，表达了对战争的谴责，对生命的尊重与对和平的渴望。

10. 桥边的老人是怎样叙述老人的故事

桥边的老人是以“我”的视角来叙事，使事件显得真实可信；②以总是开船晚为中心展开驾船佬的故事，能够制造悬念，引起读者的阅读兴趣；③少用对话形式，多用“我”的叙述，有利于对驾船佬的故事进行揭示，而且增加了小说的抒情色彩。
驾船佬为人善良慈祥，不但送孩子们去上学，对孩子们不理解的不尊敬话语也不生气。②驾船佬心细，周围几个村子有几个孩子上学他清楚，每次谁没及时到他也清楚，总是等人齐了再开船。③驾船佬有毅力和责任感，坚持不跟儿子到城里去生活，长期留在清溟桥边送孩子们上学。