英文爱情文章

英文爱情文章（共7篇）

英文爱情文章 篇1

关于爱情的文章爱情哲理文章,编织爱情的傻气 作者:admin 点击:185次

她为他编织过一条围巾，说起来已经是七年前的事了。

那时候，他们相爱。同一个学校隔壁班的长发女生，曾经是他的最爱。他们的爱情缠绵热烈，谁都羡慕他们行走时一直牵着的两只手。

她为他编织过一条围巾，点灯熬夜，一针一线笨拙地把情感也编织了进去。那个时候，几乎每个拥有爱情的人，脖子上都会戴着一条简单却充满情意的围巾，没有人会笑话它的简朴，也没有人会挑剔它的款式。因为，那是爱情。七年中他们分手过，接着又复合，而后一直在一起。中间走过的坎坷，难以言说。

七年后，他们都已经成熟。他坐到了一间贸易商行副总的位子上，每天西装笔挺的样子。

她为了他，放弃了唾手可得的生活和事业，随他一起来到了这座陌生的城市。这座城市好熙攘，通透的空气里看不到自由飞翔的鸟儿，她每天都在大厦21层那间透明的玻璃窗前看蓝天。属于她的天空，她已经找不到。

他经常夜归，身上有着浓烈的香水味道，她不是闻不到。只是，倘若开始势必会决裂，可是她已经27岁，不再有承担破碎的勇气。很多夜里，她一个人在黑暗里等待，哭泣，回忆。

那一年，他曾经为给她买一张她喜爱歌星的演唱会门票，彻夜排队，花掉半年的积蓄。

那一年，他每天为了能够和她多呆一会儿，可以冰天雪地里呵着冻红的双手，站在热闹的女生宿舍楼门口。

那一年，他为了给她买她爱吃的桂花糕，跑到几公里外的一家小店铺，然后捧着回来，眼睛里闪烁的满是关切的爱……

可是，这一切都去了哪里?

她一决定，就不许自己后悔了。她曾经因为这些感动而觉得青葱岁月格外美好，并暗诺自己将会永远陪伴他。但没有想到，不过是几年的时间，那些本以为会持续一辈子的感动，就在那些支离破碎中消失。

他一定不再爱她了吧!也许他只是念着旧情，不舍得将她逐出他的生活罢了。

七年，他已经是意气风发的他，而她，依旧是平静如水的她，还留着不合时宜的直发，没有染色，没有变化。如一支不再时髦的绢花，只逶迤着旧日的美好造型，却早已被时光刷旧了色彩，淘汰了质地，如同他们的爱情。

后来，他们还是结婚了。理所当然、平淡无奇，没有任何的惊喜和意外。他一定会娶她，因为她是他心里永远的故乡，既是最早的痴迷，也是最后的归属。可是她并不快乐，她还是隐忍成性的，虽然修成了正果，她不必在这样一座大城市里每天为生计奔波发愁，她只需要安静地等待，他会给予她所需要的一切。只是，她开始习惯每天孤独地看着窗外湛蓝的天空，晚上陪着无边的黑暗。这样的日子，习惯也好。

一个周末，他突然说带她四处走走，她木然地跟着他。当他们到达目的地，她站在广场上等他去停车时，突然看到迎面走来了一对亲密的情侣，冻得发红的面孔，恩爱无间的肢体语言，还有他们脖子上围了同样颜色的围巾，她猛地被击溃，眼泪忍不住流了下来。

他早已忘记，那一年，他曾经拥有过一条围巾，那是来自他最心爱的女孩之手，点灯熬夜，将承诺和感情编织进去的一条简单的围巾，而现在，只能变成一场记忆，只属于年轻的记忆，那也是她唯一借着回忆的凭证。

现在，他们仍旧在一起。她还是她，而他早已不是他，即使她还有编织的力气，他却也没有配戴的勇气了。

而这一切，是只有爱情能够给予的傻气。

英文爱情文章 篇2

关键词：爱情,悲剧结局,差异

The elder sister Blanche DuBois,heroine of the play,appears in the first scene dressed in white,the symbol of purity and innocence.She is delicate,refined,and sensitive,and seems cultured and intelligent.Whereas,to people’s eyes who know the inside story,Blanche is a lady of easy virtue who depraves the moral fiber and even had an affair with a young boy.She arrives at her sister’s home hoping to start a new life after losing her ancestral mansion,her job,and her reputation in her hometown.She is good at disguising,and her artificial actions seem ridiculous.She refuses to see herself as she is but instead creates the illusion of what ought to be.However,our opinion on such a woman can not stop on this point.What’s the cause of such a cultured lady’s fall and what’s worthy a researcher pondering from her tragedy?

As we know,Blanche’s young husband committed suicide after the night Blanche found him in a compromising situation with an older man and told him that he disgusted her.Blanche has always thought she failed her young lover when he most needed her.She felt also that she was cruel to him.And Blanche’s entire life has been affected by this early tragic event.Earlier,her love had been like a“blinding light,”and since that night Blanche has never had any light stronger than a dim candle.Immediately following this event,Blanche was subjected to a series of deaths in her family and the ultimate loss of the ancestral home.The deaths were ugly,slow,and tortuous.They illustrated the ugliness and brutality of life.All her experiences force her to escape from the unbearable reality.

As the title of this play,“desire”,Blanche seems to believe that by continually asserting her sexuality,especially toward men younger than herself,she will be able to avoid death and return to the world of teenage bliss she experienced before her husband’s suicide.She thinks that from sexual promiscuity she can avoid empty of love and heart.By sleeping with others,she is trying to fill the void left by Allan’s death.“Intimacies with strangers was all I seemed able to fill my empty heart with.”She tries to alleviate her guilt for her young lover by giving herself at random to other young men.And she was particularly drawn to very young men who would remind her of her young husband.She is eager to be loved,to be holed warmly and to be in a safe aegis.However,she has lost her ability to deal well with love since the failure of her first love with her young lover and she improperly believe that desire can be feed by sexual intercourses.As Psychologist Robert Sternberg formulated in his Triangular theory of love,love has three different components:Intimacy,Passion and Commitment.Love formed by passion only—passion without intimacy or commitment—is just infatuation and will not last long.(Sternberg,1986:120)What Blanche believes after her husband’s death is such kind of love,and obviously a wrong one.

When Blanche meets Mitch,she realizes that here is a strong harbor where she can rest.Here is the man who can give her a sense of belonging and who is also captivated by her girlish charms She deceives him into thinking her prim and proper but in actuality Blanche would like to be prim and proper.And as she later told Mitch:“inside,I never lied.”Her essential nature and being have never been changed by her promiscuity.She gave of her body bu not of her deeper self.To Mitch,she is ready to give her whole being.However,Mitch isn’t the man as Blanche dreams,which can accept her and care nothing about what she had done.When he learns the past of Blanche,he can not understand the reasons why Blanche had to give herself to so many people,and,if she did,he thinks that she should have no objections to sleeping with one more man.He leaves Blanche,and thus destroyed the hope of Blanche’s love.After Mitch’s leave,Stanley,the husband of her sister,raped her and causes her final mental breakdown.

It is the heated of Blanche that makes Stanley rape her.In face,the glaring contrast and fierce struggle between the two worlds of Stanley Kowalski and Blanche DuBois exist during the whole play.Between them is Stella,who is the connecting figure to two different worlds-the supposed royalty world of Blanche and the more common world of Stanley.She is a mix of the two worlds.She still has many of the qualities instilled in her at Belle Reve,yet she does not let that get in the way of her having some fun.As she is so entangled between two completely opposite worlds,she is stuck and eventually,is forced to side with one of the two.She is not strong,and therefore the“winner”of the battle is the one who gets her to side with them,Stanley.

Stella,most of the time a neglected heroine ina streetcar named desire,has something more for us to seek in her spirits.She comes from Blanche’s refined,educated,and sensitive world.As leaving Belle Reves to seek a new life,she falls in love with a man who is very different from her own class and marries him.She chooses to vulgarize herself and to live a lowclass life with this man.Stella has accepted her less luxurious surrounding upon marrying Stanley.Many people in her apartment building must deal with physical abuse,Stella included,and she gets herself used to it.She enjoys the common life with her husband Stanley,a“common”and“Polack”man as her sister Blanche considers.She knows all his defects,but she accepts even all of them and is happy to be a submissive wife.Stella is satisfied to leave behind her the social pretensions of her background in exchange for the sexual gratification she gets from her husband.They seem to be a happy couple together,a least before Blanche’s arrival.We can not simply consider their marriage as something out of carnal desire.In fact,Stella gives al her heart to love the man but what falls on her is an unbelievable tragedy:her husband,the man she loves,rapes her sister the eve she gives birth to their baby.She can’t believe this;if she does,she can live with such a man anymore and how can she make live with a neonate.She is forced to side with Stanley.This is a tragedy which shows that when a woman depends on a man she loses her voice and her right when she faces unfairness and she is too week to fight.

As Sternberg says,“Love is certainly the thing we crave the most and have the most trouble getting,and love also involves a kind of intelligence.”(Sternberg&Grajek,1984:318)We can only seek for the secret of love but never learn all about it.However,love is not always a sweet thing.Pain,betray,lie…From both the sisters’tragic experience,we may found a same reason—dependence on man.Blanche depends on intimacies with strangers to fill her empty heart;Stella depends on Stanley for love,sexual gratification and money.None of them is independent mentally,neither corporeally.That could be a caution to all women,that only way leads tohappiness is self-independence.

参考文献

[1] Sternberg R J.A Triangular theory of Love[J].Psychological Review,1986(93):119-135.

文章英文摘要 篇3

Being More Open-minded, More Realistic and Less

Eager for Self-Proclaimed Schools:A Speech at the

2008 China Opera Forum

Iput forward three sentences to encourage the work of the newly founded China Opera Society. First is to be more open-minded. Chinese opera has transformed from the ″Unitary Era″ to the ″Pluralistic Era″ since the opening up and reforms. Since the name of our organization is called ″China″ Opera Society, thus the society should belong to the whole nation, and should be a non-governmental academic organization for the sake of all the Chinese opera artists. It is therefore necessary to recognize in this present age of pluralism the pluralistic orientation of opera concepts, opera thoughts, opera tastes, opera styles and opera forms, with more open-minded outlook covering all the opera workers with various ideas and opinions, so as to truly unite them all and bring their enthusiasm and originality into full play. Such a society would become a home for everyone, where one would work under its direction. Otherwise, a less open-minded society would only unite few artists.

Second is to be more realistic, i.e., to do those more important things that the society is capable of doing. What should we do then? Today＇s forum is one example. Its purpose is to discuss in very serious manners what achievements have been made for Chinese operas, what other issues we should deal with, what their origins are, and how to deal with them, etc. This is what we call ″being realistic″. Such academic discussions should never be despised as they are of great value to the development of opera art.

Under the current difficult situation for Chinese opera where many of the opera houses are turning into enterprises, various issues arise, such as how to transform the opera theatres, what benefits such transformation would bring to the growth of opera production. In my opinion, the aim of such reforms is nothing but as follows: 1) to produce more operas of higher level. Once the reforms succeed, I＇m sure there will be more good productions. 2) to bring up more opera talents through reforms, such as outstanding playwrights, composers, actors and directors; 3) to improve the living and working conditions of opera workers. The success of the reforms depends wholly on these three elements. If after the reforms the workers＇ salary is reduced, no good productions are created, or good talents are leaving because of less interest in opera, then such a reform is by no means successful.

The third sentence is to be less eager for self-proclaimed schools. In the process of preparing for the 2008 China Opera Forum, I heard that someone wanted to write an ″Opera Proclamation″ and proposed the idea of ″Chinese opera school″, to which I expressed my disagreement then.

Do we need the so-called ″Chinese opera school″? I said yes, but not now. Chinese opera artists should have such an ambition, but it is still too early to proclaim it as the condition is not yet ripe for claiming such a school or trend whether in terms of the objective condition that restricts the opera development in China or the subjective condition that is related to opera artists themselves.

We can not proclaim ourselves the ″Chinese opera school″, but rather, it should be an honour offered to you by others or later generations for your achievements as it is supposed to be a scientific conclusion or recognition of any contribution by the Chinese opera art in the history of world opera. Only when we have produced outstanding operatic works of high artistic level with truly Chinese geographic and ethnic characteristics and with representation of the modern times, and when our works are not only welcomed by Chinese audience, but also enjoyed and admired by our foreign counterparts and audience in all different countries, can we say that our ″Chinese opera school″ matures and can be referred to as such by our foreign colleagues, just like the Russian school of music.

A Music Critic Should Be a Good Finder of

Better Music

The first point is, in my view, that a music critic must have a correct criterion of value assessment for such a music form as symphony. Here lies the issue of how to define symphony. In the first place, I think the concept of ″symphony″ should be divided into two aspects： the ″broad″ sense and the ″narrow″ sense of symphony. In the broad sense, all the music performed bya orchestra or symphony orchestra can be called symphony. Just as what we can hear in some of our symphony promotion events, Johann Strauss＇s works such as his waltzes occupy an important position in the genre. And to me, the authentic works of great importance in the field of symphony should be those ″symphonic″ music pieces of great importance, just like symphonies of Beethoven, Shostakovich or Mahler, rather than those small pieces or light music pieces performed by orchestra bands.

The second point is that a music critic must have a high level of professionalism. Criticism on symphony composition differs from media promotions or deliberate sensationalization. It ought to be true words of the professionals with high-level expertise and serious research. Any criticism by laymen may mislead the readers, and therefore would never hold water.

As known to all, symphony composing requires extremely high-level expertise, and it is still developing further with the change of the times. Critics, and, in particular, young scholars dedicated to music criticism, must keep learning professional knowledge before being able to deal with those technically new compositions. Without sufficient knowledge of the new stuff, your writings would fail to get to the point. As composition techniques can be infinite, one should never blame those seemingly strange new techniques as a kind of show-off. It is certainly wrong to show off one＇s techniques as it is commonly seen in some of the modern music works which are often regarded as rubbish stuff, but even in some of the traditional music pieces or those composed in the traditional ways, one may find the same kind of rubbish works in large quantity with much emptiness. Among the traditional music pieces, only a few can remain as classics over the ages. Modern techniques are emerging with the change of the times. However, any exploration into new styles and new techniques is bound to be experimental or even risky, usually aimed at new content and means of expression, and therefore should not be denied at easy disposal. Technique is innocent, and thus should not be blamed. It is definitely deemed to develop as the times go.

The third point is that, if popularization of symphonic music is our great ideal, criticism is then the very bridge linking the profound and beautiful symphony with the general public. For many lovers of symphony, it is only after having read wonderful comments that their interest in symphony is aroused and that, under the guidance of the criticism, they enter the concert halls to enjoy the symphonic music. Taking Beethoven as an example, many people learn about Beethoven and his music from books or talks by critics before they go to listen to his music. In this sense, persuasive criticism on symphony may produce great influence on the public. Symphony critics should play an important role in the divine work of popularizing symphony among the public. Here I want to stress that for criticism, professionalism and popularization are two aspects complementary to each other. Criticism for the purpose of popularization should no doubt be easily accessible to the public, but it must be based on accurate academic orientation, or in other words, it should be both professionally profound and easily accessible to the reader. On the other hand, if it lacks academic ″profoundness″, criticism aimed only at simple understanding and popularization may sometimes be misleading as a result.

英文励志文章 篇4

One windy spring day， I observed young people having fun using the wind to fly their kites。 Multicolored creations of varying shapes and sizes filled the skies like beautiful birds darting and dancing。 As the strong winds gusted against the kites， a string kept them in check。

Instead of blowing away with the wind， they arose against it to achieve great heights。 They shook and pulled， but the restraining string and the cumbersome tail kept them in tow， facing upward and against the wind。 As the kites struggled and trembled against the string， they seemed to say， “Let me go! Let me go! I want to be free!” They soared beautifully even as they fought the restriction of the string。 Finally， one of the kites succeeded in breaking loose。 “Free at last，” it seemed to say。 “Free to fly with the wind。”

Yet freedom from restraint simply put it at the mercy of an unsympathetic breeze。 It fluttered ungracefully to the ground and landed in a tangled mass of weeds and string against a dead bush。 “Free at last” free to lie powerless in the dirt， to be blown helplessly along the ground， and to lodge lifeless against the first obstruction。

How much like kites we sometimes are。 The Heaven gives us adversity and restrictions， rules to follow from which we can grow and gain strength。 Restraint is a necessary counterpart to the winds of opposition。 Some of us tug at the rules so hard that we never soar to reach the heights we might have obtained。 We keep part of the mandment and never rise high enough to get our tails off the ground。

Let us each rise to the great heights， recognizing that some of the restraints that we may chafe under are actually the steadying force that helps us ascend and achieve。

什么是你攀升的方向标

在一个有风的春日，我看到一群年轻人正在迎风放风筝玩乐，各种颜色、各种形状和大小的风筝就好像美丽的鸟儿在空中飞舞。当强风把风筝吹起，牵引线就能够控制它们。

风筝迎风飘向更高的地方，而不是随风而去。它们摇摆着、拉扯着，但牵引线以及笨重的尾巴使它们处于控制之中，并且迎风而上。它们挣扎着、抖动着想要挣脱线的束缚，仿佛在说：“放开我!放开我!我想要自由!”即使与牵引线奋争着，它们依然在美丽地飞翔。最后，一只风筝成功挣脱了。“最后自由了，”它好像在说，“最后能够随风自由飞翔了!”

然而，脱离束缚的自由使它完全处于无情微风的摆布下。它毫无风度地震颤着向地面坠落，落在一堆乱草之中，线缠绕在一颗死灌木上。“最后自由”使它自由到无力地躺在尘土中，无助地任风沿着地面将其吹走，碰到第一个障碍物便毫无生命地滞留在那里了。

有时我们真像这风筝啊!上苍赋予我们困境和约束，赋予我们成长和增强实力所要遵从的规则。约束是逆风的必要匹配物。我们中有些人是如此强硬地抵制规则，以至我们从来无法飞到本来能够到达的高度。我们只遵从部分戒律，因此永远不会飞得足够高，使尾巴远离地面。

英文文章总结怎么写 篇5

如何写总结(How to write a summary)

1、The author tells us the importance of self-learning for children. Not only should the teacher help the students to correct their mistakes, but also they should depend themselves to correct their own mistakes.

2、This passage discusses the importance of self-learning for children. Students should have the chance to correct their own mistakes, learn-by-doing and learn from each other, not just the teacher.

3、The article gives the view that teachers should let students correct their mistakes by themselves. students are able to correct their own mistakes and teachers’ frequent correction will make children unable to judge their own work.

4、Some people think students’ mistakes should be corrected by themselves and it is wrong for the teachers to do it for them too often in school. It will make the children dependent on the teachers.

The author (the passage) discussed the benefit of extracurricular activities including being a way to improve students’ health, widen their social circle and introduce them to new ideas and people.

Reviews the most important points of the text. it should be brief (short). Furthermore, the summary should be written as much as possible in your own words. It contains only the main ideas and what the author talks about the topic but not include much explanation or examples.

【范文】

a month had gone, but i felt that my gains were very little.

in this month, i read some documents whose topics were labor relations, i found that a lot of were very similar, and some of them were so difficult that i could not understand them. at present, the labor relations in our country is not very harmonious, especially when the contract law had changed.

i think the main problems the about labor relations are as follows: firstly, it is that the quality and legal awareness of the bosses and staffs were not very high, because of these a lot of disputes had happened. secondly, the laws in our country were not overall, as a result, the numbers of the contradictions were increased.

thirdly, the government did not respect for the law enforcement, in some provinces, the government did not given the enterprises who had did some wrong things in order to their rapid economic development.

i will spend a lot of time on them next month.

in this month, i got up at 6:40am and read english about an hour every morning. besides this, i spent more than an hour on listening to the new concept english .my english is very poor, i hope that i can improve my oral and listening english according to these.

关于爱情哲理文章 篇6

在这竞争越来越激烈、信息越来越开放的时代，爱自己女儿的母亲们，总会不由自主地把她经验中渴望的、错失的和未达成的事，综合起来以最实际与简洁的方式下一个结论。而这个结论，给喜欢上她女儿的男孩子们，与这些男孩子们的家庭，带来空前的压力。据统计，目前适婚的年轻男性，若顺着合理进展的财富累积速度，大概要等到42岁才能达到女孩们的母亲要求的标准，那时女孩们的青春却已不再。

只是，爱情本来是一个很私密的领域，当爱情进展到当事者面对对方家庭和其社会关系时，它立刻变成开放性的平台，忽然变得敏感、透明和善变。它总是很容易地随着现实而产生变化，呈现不同的形状，感染、强化你所有的需要。是的，无论女性还是男性，总是会在爱情的支撑下，放大了快乐、悲伤，强调想要看的部分、忽视不打算关注的部分，这就是爱情的力量!只是生活永远是最现实的，它总会在你经过了一段不平常的时光后，把那些本该有的现实的部分填补回来。于是，你开始修补那些因为爱情而忽略掉的东西，当然也有人选择了将爱情进行到底的偏执。然而在现实世界里，金钱始终站在不能回避的位置，它可能改变不了你对爱情的初衷，却在往后的两人世界里，不断地投进变量，让两人必须一次又一次地面对现实的挑战。

其实丈母娘们的要求，常常是出现在两情相悦的时光里。女孩们总会努力说服自己的母亲求得成全与支持，这压力也会对男孩们产生正面的力量。怕只怕问题是发生在两人身上，当两人各自的状况与传统的看法不一致时，例如，女方收入高于男方时，很多的压力就来自当事者。这自己给自己的坎儿，就不是靠勇气可以解决的，需要两人用更多的智慧与沟通去化解。

爱情与金钱孰轻孰重，由此产生的问题的症结大都只存在于两人之间。所以，无论是贫是富，当两人的价值观一致时，一切问题都将找到解决的出口。反之，再美的爱情、再多的财富，也无法引领两人久居幸福之地。

有些人愿意从这样的角度理解爱情：爱情是寻找自己的另一半灵魂。寻找的动机是因为发现了自己的不足，想透过寻找来认识自己，把自己变得更完整，以便面对未来的人生。愿意面对自己不足的人，通常都是谦卑的。所以在面对爱情时，人容易显现出某种程度的不自信，无论这次爱情的发生是主动寻找的结果，还是被动降临。在你心中还不确定对方是否爱自己之前，我们总会不自觉地把自己放在仰望对方的位置上，就算对方已经表示了肯定的态度，但因为太爱对方，我们仍有可能站在原来的位置，不敢起身。

爱情，真的是一门艰涩的功课，无论是在无知无惧的青春还是千帆过尽的中年，只要一发生，我们就都成了等待历练的学习者，需要重新检验自己一次。当你爱一个人的时候，对方的一切都是稀罕的、使你渴望的。特别是男性，一旦有了追求某人的冲动，他们常常会通过武装自己、让自己变得强大，来博得对方的注意与好感。其实这都是因发现了自己的不足所做出的弥补，也因此他会在爱的过程中不断地调整自己，企图以对方的好恶来改变自己以求协调，除非他笨到以为强迫是有效果的。而女性在面对一个让她心动的追求者时，往往也会有类似的反应，留出让对方展现的空间，并且隐藏自己觉得不恰当的缺点。两人就在这一进一退中寻找到了交集，这一交集渐渐扩大，使原本不相干的孤独灵魂，合成一体。

所以，在爱情来临时，觉得对方样样都比自己好，是合理的。这也表示你是真的心动了、在意了。但是千万不要被这样的反应搞乱了自己，反而要凭借着这样的心情，来调整自己、优化自己。同时也不要忘记，如果对方也心动了，其实他也同样忐忑地渴望着，期待着，向着你喜爱的方向调整自己。爱情对相爱的两个人是公平的。所有的差异，都是为了让彼此在爱情里有更强大的协调的动机，而绝不仅仅是对比的度量。

如果在爱情里遇到以物质条件来度量的对方时，请相信，此刻他不是真心爱你，以后他也不会因你而改变自己。你若心动了，那只是一厢情愿，不是爱情，除非你有自信能改变对方，然而这个世界上，若是对方没有意愿改变，还有谁有能力去改变他?基本上当一个人先以世俗的外在标准去度量别人时，他们的关系是不可能衍变成爱情的，除非他已经被自己的野心征服了。而爱情若经常落在权衡、对比物质、外表的优劣，那么即使有了爱的触动，也很快会被消磨殆尽。当你一旦发现自己有了这样的想法，请先调整自己。而当你担心自己在世俗的价值或外在条件上不够好时，若你是真心地爱着对方，就请你诚恳地问对方。若是他在意那些方面，就别强求，因为你们之间不可能有爱情。若是他真心爱你，可能他根本没有你担心的那些想法，而且还正担心着自己还有许多配不上你的地方。千万记住，这样的询问只要诚恳深入地沟通一次即可，老提是会坏事的。

我还是愿意相信在爱情里是没有比较的，如果产生某方面不足的感受，正是爱情给予自己思考调整的机会。世界上没有十全十美的人，所有因生命中的变化而产生的自觉，都是让自己成长的机会，我们透过对方的眼睛看到自己的另一面，也透过两人的关系而互相调整着步伐。

天地广大、生命匆忙，爱情绝对是值得珍惜的，如何思考面对、如何享受爱情，都是值得虔诚去面对的功课。请凭借客观的自觉，放下无谓的自卑或谋略的企图，迎接一次爱情。而那个真心爱你的人，可能也正看着你美好的一面，渴慕着你。

爱情哲理文章三则5：你以为这就是爱了

你翻阅他的人生履历，追寻着他的足迹，感受着他的喜怒哀乐，并为着他的开心而开心，为着他的忧郁而忧郁。

你以为这就是爱了。

你读他的文字，欣赏着他的才气，喜欢听他的言谈欢笑，喜欢贴近他的感觉，甚至为着他愿意与你说话，而欣喜异常。

你以为这就是爱了。

你对自己说你是愿意做他的新娘的，愿意与他携手百年，愿意为他置一处温暖的家，让他从此不再漂泊，愿意为他生儿育女共享天伦。

你以为这就是爱了。

不可否认，你的确对他动情动心了。

只是，某一天，当他离你而去，最开初，你有过思念，有过失落，甚至有过惆怅与痛楚。但是，随后的日子，你忘记得很快。另一处风景闯入你的视野，代替了先前所有的思念，你觉得相形之下，你更爱眼前的风景。

你欣赏着眼前这个他，喜欢着眼前这个他，并时常幻想着与这个他共结连理。亦如当初对先前的他，感觉是惊人的相似。

这个时候，偶尔想起先前的他，你只是笑笑，笑自己当初的幼稚与天真，你说，那不是爱，那只是自己给自己编织的情网，你喜欢垂钓爱情，钓的是自己的感觉和自己的血肉。

可是，你又如何把握眼前这一份感觉，就真的是爱了呢?

或许，你喜欢的只是他头上的光环，喜欢的只是打败身边那些仰慕者的感觉。

因为年轻，你耐不住寂寞;因为年轻，你争强好胜;因了年轻，你酷爱着征服。你用征服男人，来见证着你的魅力;征服男人，也带给你作女人的快乐。正如某人所说，你爱的不是他这个人本身，而是恋爱的感觉，你需要有一种恋爱的味道恋爱的气息恋爱的热闹充斥你年轻的生命过程，消耗你过剩的精力。因此，你不断的制造着爱的对象，制造着爱的感觉，你爱着爱他的感觉，爱着想念他的味道，爱着为他写情书的激动，同时还爱着被他冷落被他粗暴的教训的酸涩，爱着因为他喜欢众多女人和众多女人喜欢他而引发的醋味。你沉迷在这种爱的痛快之中，无法自拔。

这，其实是爱的错觉。

爱的错觉，让你忽略了一样，最现实的一样，那便是与他真实相守一辈子，那些平平淡淡岁月里，柴米油盐的琐碎;那些风霜雪雨来临时，生命要承受的刀光剑影。对这些，你没有想过，或许你想过，却只是轻描淡写的以为那很简单。

在你看来，有爱就够了。

可是，有爱是绝对不够的。纸上谈兵似的恋情，无异于画饼充饥;只沉浸在甜言蜜语中的恋情，是经不起时间和霜雪考验的。

爱的错觉是一场爱的作秀，在某个时候，会切割青春，会捣碎你美好的理想，然后把灰暗的色泽涂抹在你生命的天空，以至于影响到你以后的爱情观价值观人生。更有甚者，你或许还会把这种错觉变成一把利刃，在你自以为爱着的人身上，留下深深的创口。是的，爱的错觉往往在你的爱没有得到你渴望得到的回应时，变成怨恨，既而在某一段时间，那个你自以为深爱的人，会沦为你诅咒的对象。大凡成不了恋人，便成为仇敌，都是爱的错觉下的畸形产物。

爱源于一种感觉，这感觉有些像海市蜃楼，美则美已，却太虚幻。是的，说爱是很容易的事情，写一封情书也不是很难，作出一个爱的口头承诺也仅仅是开出一张空头支票。或许你精于的其实只是恋爱的技巧，你自以为成熟的只是将爱写成词，谱成曲，然后非常张扬的放声歌唱。可是，你是否知道，爱的过程却是长久的跋涉，除了花前月下，除了卿卿我我，除了肌肤上的亲吻爱抚，还有义务、责任，那些东西看起来一点儿也不浪漫，甚至是沉重的，却需要你付出毕生的精力;你是否知道，最真实动人的情书，不是写在纸上，不是唱在嘴里，却是付印在你每天为你和他组合的那个家的操劳之中。因此，真正的恋爱，是从组合了家才开始的，开初的一切，都只是爱的序幕，厚实而精彩的内容，在以后的章节。

那么，当你以为自己爱了的时候，不妨让自己暂时的远离，把心里升腾的爱火人为的灭一灭，然后重新打量你自以为爱着的对象，看看自己是不是具有足够懂得他的能力，至少是不是愿意努力的去了解他、理解他，并始终欣赏着他。然后，你还需把他所有的优点全部抛开，只看他的缺点，并尽可能放大他的缺点，再问问自己，你能不能够包容?在今后的岁月里，你会不会因了他的这些缺点不仅没有改变，反而膨涨，而轻易的离弃?你是否愿意无论贫富、疾病、环境恶劣、人生失意失利，都一心一意忠贞不渝地爱护他，在人生的旅程中永远与他心心相印相依相偎，直至白头偕老?

请把每种情形都好好的思虑一遍，并认真的在心里演绎一次。

用关联理论看文章中的爱情对白 篇7

关键词 关联理论 爱情对白

中图分类号：G633.3 文献标识码：A 文章编号：1002-7661（2016）02-0015-02

爱情是人类永恒的情感，无论何时何地，都是人类最古老而又新鲜的话题。对爱情的渴望和执著是人类的天性。恰当生动的爱情对白可以让有情人终成眷属，可以使常见的爱情故事变得荡气回肠、流传千古。当然，爱情对白的主要目的就是为了让对方理解并相信自己的感情，从而使听话人也产生同样的思想感情。爱情对白作为人类的一种特殊言语交际具有言语交际的普遍特征，用崭新的理论来分析传统的主题往往会有新的发现，本文正是从这一点出发利用Sperber和Wilson的关联理论的原理来分析探讨爱情对白。

一、关联理论对爱情对白的解释

爱情对白的双方总是处在推理的交际过程之中，爱情对白最终能不能收到预期的效果，关键取决于听话人是否能够根据自己的逻辑信息、百科信息和语言词语信息等作出与说话人的意图最接近的推理结果。我们来看《射雕英雄传》中的这段对话：

张无忌：“赵姑娘，我不该到这儿来，不该再和你相见。我心已有所属，决不应再惹你烦恼。你是金枝玉叶之身，从此将我这个山村野夫忘记了吧。”

赵敏拿起他手来，抚着他手背上的疤痕，轻声道：“这是我咬伤你的，你武功再高，医道再精，也已去不了这个伤疤。你连自己手背上的伤疤也去不了，能除去我心上的伤疤么？”

此时张无忌已经爱上了赵敏并明白赵敏也深爱自己，在这种情况下，他明白的告诉赵敏他已经心有所属以及两个人身份悬殊，但这仅是说话的人提供的交际信息，其中隐含着说话人的交际意图，即他们两个人虽然相爱可在当时的社会环境中是不可能走在一起的。听话人能不能根据所形成的语境假设进行推理以领会说话人的交际意图是交际成功的关键。赵敏作为听话人她首先想到的是她深爱着张无忌，所以忘记张无忌这个信息更容易引起她的注意，从她的回答我们可以看出只有这个信息取得了最佳关联。而心有所属和身份悬殊虽然与他们两个人的爱情具有最大关联但对听话人赵敏而言都不重要，是不必去考虑的，她所要的只是爱人的爱。又如《半生缘》里的那句对白：“世均，我们再也回不去了。”虽然短短的几个字，却是建立在世均和曼桢经历了人生的沧桑变化这样的交际认知基础之上的，所以听话人很快推理出了说话人的交际意图，只有珍惜这短暂的相逢时刻，然后再踏上各自的人生旅途。正是基于双方对现存认知语境的趋同，双方的表白最终达到了互明，取得了最佳关联。

当双方的认知语境由于各种因素的干扰而背离时，无论说话人的明示再具体，听话人也很难推理出与之关联的信息来，如《梁山伯和祝英台》中的对白：

祝：这蝴蝶成双成对，比翼双飞，真让人羡慕。但如果它们只是形单影只，就会显得孤单，少了一种幸福美满的感觉。我想，这世间事务，大概美好的都是成双成对的吧！

梁：照你这么说，你大哥我单身未娶，就不幸福喽？

祝：山伯，你我兄弟同行，也是成双成对，依我看，也不输那丈夫配红妆。

梁：哎！英台，只有夫妻才叫成双成对，唉呀！哪有兄弟俩这样比喻的？不妥！

在中国的传统文化中，比翼双飞是夫妻的象征，虽然梁山伯对这点深信不疑，但在不知祝英台是女儿身这样的认知环境中，尽管祝英台明确告诉他你我同行也是成双成对，他仍然不能明白祝英台话语的交际意图，这段爱情对白肯定是徒劳的。

二、关联理论在爱情对白中的启示

爱情对白作为人类言语交际的特殊形式，它不但存在于各种作品中，也出现在生活中的每时每刻，爱情对白有希望所爱的人接受自己的爱的，也有拒绝所爱的人或爱自己的人的，不管它的内容是什么，也不管它的形式如何，只要有言语参与的地方我们都可以用关联理论对其加以分析和探讨，并不仅仅局限于我们上面提到的例子。关联理论认为交际的成功关键在于听话者的推理。爱情对白中的说话人要想取得预期的结果，首先必须明白的传达交际信息和交际意图，避免误解，同时尽可能的靠近听话人的认识语境，并根据话语所取得的语境效果进行适时的调整，尽可能让听话者付出较少的努力就能取得好的语境效果。

从关联理论看爱情对白是一个新的起点，还有待于进一步研究，这里还只是一点初步的认识，希望大家给予宝贵意见。

参考文献：

[1]Dan Sperter，Deirdre Wilson. Relevance： Communication andCognition [M]. Beijing： Foreign Language Teaching and ResearchPress. 2001.

[2]何自然.语用学概论[M].北京：北京大学出版社，2009.

[3]申智奇.关联理论对说服行为的解释[J].外国语言文学，2004，（4）.