生存的代价

生存的代价（精选5篇）

生存的代价 篇1

1946年12月, 赫莱布所在的英国皇家探险队攀登珠穆朗玛峰。历经9天的艰苦攀爬, 他们终于成功地登上峰顶。可就在下山的路上, 探险队遭遇了可怕的暴风雪。更让队员们绝望的是, 他们所带的食物已所剩不多, 如果停下来扎营休息, 很可能在下山之前, 大家就已经饿死。

就在队员们人心惶惶的时候, 赫莱布镇定地建议大家丢掉身上的重负, 只带一些食物继续前行, 但他的建议马上遭到了其他人的强烈反对:现在下山最快也要10天, 如果只留下食物, 那就意味着接下来的日子里既无法扎营休息, 又可能因缺氧而冻死。

队友们的一致反对, 并没有动摇赫莱布的决心, 他坚持在暴风雪埋没路标之前, 用最快的速度下山。队友们最终采纳了他的建议。下山的路上, 队员们相互鼓励, 忍受着疲劳和寒冷, 日夜兼程, 结果只用了6天的时间, 就到达了安全地带。

50年后, 赫莱布已是古稀老人。英国军事博物馆的工作人员找到他, 请求他赠送一件当年登上珠峰的物品, 以作为永久的纪念。一个星期后, 英国军事博物馆收到了赫莱布寄来的一个包裹。当工作人员打开那个包了一层又一层的包裹后, 呈现在他们面前的是因冻坏而被截下来的10根脚趾和5个右手指尖。

在附信中, 赫莱布说:“那次, 因为我的决定, 大家丢弃了所有的登山装备。在那样的生死时刻, 我们如果想要活下来的话, 就必须割舍掉那些会给我们带来负累的东西, 包括我们的脚趾和指尖。”

生命的全部奥秘就在于为了生存而放弃。适时的割舍, 是对精神藩篱的一次突围, 是对生命行囊的一次减负。■

时尚的代价 篇2

虽然我们正为藏羚羊的命运忧心忡忡，但起码它们暂时还能成群地在高原上出没，更何况我们对于那个遥远族类的皮毛角骨的作用知之甚少，一把火将它们的尸身烧掉也不会招来多大的非议。可是对于银貂雪狐，我甚至不知道它们在哪个纬度生存，只清楚地知道，它们的皮毛和黄金一样珍贵。时装大师们不会无知到拿藏羚羊的皮作秀，他们也很环保，懂得保护野生动物。可是他们必须引领潮流，必须为自己大师的名头被人们记住而孜孜不倦。他们当然不会从农场里收购那些人工饲养的动物毛皮，因为对于这些大师来说，自己的作品是要流芳百世的，那肯定是一件被后人称道的艺术品，就像米开朗基罗，他是绝计不肯在邻家的墙壁上画东西的，只有在西斯廷大教堂的穹窿上才有创作的欲望。顶级的作品当然要有顶级的材料，在回归自然的醺风中，大师们也要当仁不让地选择最自然的面料。除了银貂和雪狐，还能是什么呢？

皮草展有两个主题，一是意大利传统风格，二是现代时装特色。时隔不久，大陆的某位设计师也跟风推出了自己的皮草秀，风格上毫无创新，只是强调突出中国情调。其实，他也不过在作为辅料的丝绸上添加一些汉字图案罢了。

这些皮草不知是秀给谁看的，但我想它的目标绝不会是如我这种买不起又心怀不满的人，但我还是看了，这是大众传媒的功劳。我当然不否定皮草的美仑美奂，就像我明知道万里长城劳民伤财但仍然欣赏它一样，这也许就是我与那些穿吊带裙的女人们一样的心情。

艳羡不等于忌妒，就像一个心宽体胖的女人，可以对街头的苗条性感女郎投以热烈的一瞥，仅此而已，她回家一样吃归吃睡归睡，绝无半点让那女子比自己还胖而后快的心情。我所艳羡的是那皮毛的华美，泛着柔和的光泽，就像一个肥皂泡似的，让人忍不住想去碰触一下。但这种幻觉太脆弱了，没等我伸出手，它就真的如同肥皂泡一样砰地破碎了，溅到我眼里的不是清凉或辛辣，而是悲哀——柔美的毛皮在Model身上无助地泛着凄惨的光泽。

我有些愤怒。不仅因为它们的珍贵被分割得七零八落，用价值去衡量太像商人的作法。那些皮毛曾和我一样，是生命，只是这个生命比起设计大师们的灵感来说太渺小了。我相信Model 们是无辜的，那些穿吊带裙的女人们的艳羡也是无辜的，如果她们知道一个鲜活的生命变成艺术品的过程，一定会尖叫着给花重金收购这些毛皮的大师们一个响亮的嘴巴，或者干脆拔了电视的电源：为了保持毛皮的色泽不被鲜血染渍，貂是被电击或窒息而死；狐狸是被踩死的，显然它的肺已经被压碎了；豹子则是用烧红的铁棍插入肛门而致死；为使波斯绵羊的毛保持卷曲，不等它咽气就得剥皮；而印度小山羊据说是被活活放在沸腾的草药汤中烫死的……

生存的代价 篇3

Treplev has the strongest tragic fate in the play.It surely comes from his death at the end of the play.To the people around him, and even audience, it seems a big surprise that he kills himself all of sudden at the end of the play.But if we look into the text itself, analyzing those hints and understatements, we’ll fi nd his death is logical and should not be out of everyone’s expectation.

Treplev is moody and depressed.It partly comes from his antagonistic relationship with his mother Both of them are artists in theater, but he is critic of the traditional theatre, which he thinks is boring and detestable, while his mother defends it since she is quite successful in that theatre.But as a son, he wishes that mother would love him though they disagree on theater.However, it is not the case.Treplev’s behavior seems childish and ridiculous when he pulls petals from a fl ower to guess whether his mother loves him or not though this is the proof that he needs his mother’s love so much.

She loves me…loves me not…loves me…loves not.See, my mother doesn’t love me.But, then, why should she?She wants to live, have love affairs, and wear pretty clothes;and here I am—twenty-five—always reminding her that she’s getting older.When I’m not around, she’s thirty-two;when I am, she’s forty-three…and she hates me for it.And she knows that I despise the theatre!She loves the theatre, she thinks she’s serving humanity!But in my opinion our theatre’s in a rut.It’s nothing but clichés and shopworn conventions… (Act I, 128)

Treplev’s relationship with his mother becomes even worse when he tries to please his mother by putting on a play he wrote.Unfortunately before the performance is fi nished, it is interrupted by his mother who mocks the special effects of his“new-forms”play.The playwright uses an understatement here quite skillfully to achieve the effect that Treplev’s mother dislikes the play and shows a contempt for it.When Nina cites the lines in Treplev’s play, “My all powerful enemy, The Prince of Darkness, is approaching.I see his terrible bloody eyes….”Polina, in order to show her care for Dr.Dorn, inserts:“You’ve taken off your hat.Put it on again before you catch cold.”Irina, the mother, mocks, “The doctor’s taken his hat off to The Prince of Darkness, the Fateher of Eternal Mater.”Mother’s mocking words therefore enraged Treplev.When Treplev went off with anger and insult, his mother even could not understand.Mother’s indifference and distain are the fatal attack to Treplev.“Really, this is getting a little tiresome!These everlasting attacks at my expense, these pinpricks;why it’s enough to make a saint lose patience.Really, you must admit he’s a conceited, impossible boy!” (I, 135)

In Act II, the seagull appears for the first time to indicate Treplev’s tragic fate.When Treplev brought a dead seagull he shot to Nina and told her, “And soon I’m going to kill myself in the same way.”he actually uses it as a strong symbol to predicate his fate in the future.However, Nina can’t understand what he means by giving her a dead seagull as a gift and saying silly words.In fact, she can’t understand Treplev’s love and it is her rejection of his love that led to Treplev’s death in the end.

Treplev’s fate is doomed to be tragic because he thinks love is above everything.And it is love that he lacks.In Act III, when he catches his last chance to gain mother’s love before she leaves home, he fails again and feels totally desperate.The playwright employs a trivial element here to convey the important message.Treplev asks his mother to change bandage for him, thinking she is still a good mother.While talking of Trigorin in the conversation, mother obviously shows her favour towards him which irritates Treplev again.“Real talent!Angrily.I have more talent than any of you if it comes to that!Tearing the bandage off his head….” (III156) His loss of mother’s love results from mother’s attachment to Trigorin and her selfishness as well.So the hatred for mother becomes deeper.Interestingly such relationship has been defi ned accurately through an analogy in the play.Treplev and his mother often quote lines from Shakespeare's Hamlet.Treplev’s anger and hatred with his mother for her attachment to Trigorin is just like Hamlet who dislikes Claudius.While the loss of mother’s love makes Treplev unhappy, the hopeless love for Nina kills himself directly.In the last Act though two years past, when Treeplev meets Nina once again, he still holds intensive love to her and wishes tha Nina would love him back.

…all the time I knew that I loved you heart and soul, and that I always would!I can’t stop loving you Nina.Ever since I lost you, ever since I began to ge my work published, my life’s been unbearable.I’m so unhappy….I’m lonely.There is no love to warm me, I feel as cold as if I were in a dungeon—and everything I write turns out lifeless and gloomy and bitter.Please stay, Nina!I beg you, or else let me come with you!… (IV, 173)

The tough words do not retrieve Nina’s love.He decides to put an end to his life.The dead seagull which symbolizes his death appears as a stuffed bird just before he shoots himself.This strong hint, combing with his action before he goes off the stage, tells undoubtedly an inevitable tragedy that is approaching in a minute.

Treplev:…He spends the next two minutes silently tearing up all his manuscripts and throwing them under the table, then unlocks the door at right and goes out.…

Shamraev:Leads Trigorin to the cupboard.Here’s the things I was telling you about before…Takes the stuffed seagull out of the cupboard.This is what you ordered. (IV, 175)

Though Treplev has already been quite successfu in his career as a writer, he still chooses to kill himself which proves further that nothing is more important than love.To him, life is boring and meaningless once love is lost.

Nina is just the opposite.She puts fame and success in the fi rst place.She ignores Treplev because she has strong desire in pursuit of her ambition as a famous actress.When she meets Trigorin, the successful writer, she is so jealous about his fame and success, thinking only the life with fame is worthy living.

What a wonderful world you live in!How I envy you—if only you knew!How different people’s destinies are!Most people are all alike—unhappy.This obscure, tedious existence just drags on and on.And, then, there are others—like you, one in a million—who have a bright and interesting life, a life that has signifi cance.Yours is a happy destiny. (II, 147)

Nina’s fate is most closely related to the symbol of the seagull.About the importance of symbol in the theatre, Esslin has ever emphasized,

…because the stage tells to look out for a universe more ordered, more meaningful, a universe deliberately created to enhance and interpret the significance of the real world, a universe of fiction, which is to say a universe of a higher, more permanent order of reality, even their most causal remarks were turned into a kind of poetry.In that sense anything that is put on the stage acquires some characteristics of symbol.It becomes a sign—an iron—a sign for itself, but one that is pointing beyond itself to a higher signifi cance transcending itself. (Esslin 1982, 4)

So seagull in the play plays a very important role in Nina’s characterization.Throughout the play, the image of the seagull changes meaning over the course of the play, indicating Nina’s fate changes over the time.

In Act I, Nina identifies herself with the seagull, “…I feel pulled to his place, to this lake, as if I were a seagull.”Seagull symbolizes Nina’s innocence and purity.She is like a seagull longing for security and freedom.In Act II, seagull’s meaning changes when Treplev lays the dead bird at her feet;she‘bends down to pick up the seagull’, ‘puts down the seagull at the end of the bench’.The failure of understanding the action of Treplev and the symbol of the seagull suggests the end of their love.Besides, at the end of Act II, Trigorin compares Nina to the seagull, “A young girl, like you, has lived in a house on the shore of a lake since she was a little girl;she loves the lake like a sea gull, and she’s as free and happy as a seagull.Then a man comes along, sees her, and having nothing better to do, destroys her, like this seagull here.” (II, 150) Nina is actually destroyed by someone though it’s not Treplev but Trigorin himself.

In Act IV, Nina links the seagull again with herself by using it as a signature on her letters to Treplev and repeatedly talks of herself as seagull in her last moments on the stage.For her, it symbolizes her childhood attachment to her home and the lake, to which she naturally returns.But it also refl ects the hold which Treplev and Trigorin both try to exert on her Unfortunately, Nina is finally abandoned by Trigorin Trigorin’s words convey such information:

Shamraev:By the way, Boris Alexeyevich, we’ve still got something of yours.

Trigorin:What’s that?

Shamraev:Konstantin Gavrilovich shot a seagul once and you asked me to get it stuffed for you.

Trigorin:Did I really?Pondering.I don’remember it. (IV, 170)

And when Shamraev shows him the stuffed seagull he still thinks that he doesn’t remember it.By saying“I don't’remember”, it means he forgets Nina since Nina is the seagull in his eyes and she calls herself seagull.

After Nina’s failure in acting and abandonment by Treplev, she seems to recognize what really accounts in her life:

Now I am not like that.I am a real actress, I ac with enjoyment, with enthusiasm, I am intoxicated when I am on the stage and feel that I am splendid…my sou is getting stronger every day.Now, I know…in acting or writing—what matters is not fame, not glory, not wha I dreamed of, but knowing how to be patient.To bear one’s cross and have faith… (IV, 174)

She comes to terms with a new belief tha endurance is“nobler”than success, however, she has already paid heavy price for her life.Masha is another protagonist with strong sense of tragedy.A the beginning of the play she has been set a sad tune revealing her pessimistic attitude towards life.

Medvedenko:Why do you wear black all the time?Mash:I’m in mourning for my life, I’m unhappy.Medvedenko:Why?I don’t understand.You’re healthy and even your father isn’t quite rich, he’s pretty well-off.My life is much harder than yours.…

Masha:Money isn’t everything, even a beggar can be happy. (I, 126)

Masha is not in mourning for anyone who has died, she is simply in love with Treplev, who does no love her.So that’s why she ignores Medvedenko’s love.“Don’t be silly!I’m touched by your love, bu I can’t return it, that’s it” (I, 126) Medvedenko in her eyes is only interested in money and fails to understand her‘tragic’behaviour.At the end of the fi rst act Masha brings anguish to Dorn.He replies in an understanding manner but his comments have a meaning that he can do nothing to help her.During the two years tha separates Acts III and IV Masha has made an unhappy marriage with the boring Medvedenko, and, although she still loves Treplev, she appears to have acquired a more realistic view of her situation than she had at the beginning of the play.Like Nina, she learns how to endure in the world.

Love without hope—that doesn't exist except in novels.It’s nothing really.You’ve just got to keep a fi rm grip on yourself, stop youself from hoping…from hoping that thing will change…If you begin to fee love, you just forget it!Anyway…I’ll forget all about i…tear it out my heart by the roots. (IV, 163)

Sorin also considers his life a tragedy.There is a very interesting talk between Treplev and him.Treplev says, “Your hair and your beard are never combed Uncle, you ought to have them cut or, at least, trimmed.”Sorin responses, “That’s the tragedy of my life.My appearance….Why, even when I was younger I looked like I were drunk.Women have never liked me.” (I128) In Act IV, Sorin goes on to prove his failure in life“When I was young, ”he says, “I mean to be a writer---I never was.…I mean to get married---I never did.I mean to live in town---and here I am ending my days in the country.”At the end, he half-jokingly makes a suggestion for his nephew Constantin's story-writing He calls it“The Man Who Wanted To, ”referring to the fact that he never accomplished his dreams of becoming an author, speaking eloquently, marrying, and living in town.His tragedy also lies in his passivity and does no strive for goals, thus he lives a life without purpose.

At last, The seagull is a play“full of love”.We’ve found indeed four love triangles.Though there is so much love, there is none at all since all of their love is unrequited love.Nobody gets love from the other.In this sense, the tragic nature of the play has been reinforced.

As Raymond Williams considers, The Seagull is“a way of seeing the world of life through the qualities of individual men and women.A whole group, a whole society, can be seen a victim.It is not a question of the dramatic resolution of the fate of a single individual but of an orchestration of responses to a common fate.” (Williams, 1966) .If the play is a comedy, according to Chekhov, it is not one with happy endings but one with pains.Many characters are dissatisfi ed with their lives, and see in love or success the hope for improvement of their condition but they are unable to change the situation and reach their goal.Thus, these characters are ultimately disappointed and their fate is inevitably tragic.

摘要：契科夫在《海鸥》一剧中塑造了众多的悲剧人物形象, 特别是男女主角Treplev和Nina体现了最浓的悲剧色彩。剧作家用象征和含蓄陈述的手法表达了人类在社会上生存就不得不像剧中主人公那样付出沉重代价的主题。造成剧中人物悲剧命运的原因不尽相同:忧郁、沮丧的Treplev因不能得到母亲和Nina的爱而结束了自己年轻的生命;野心勃勃的Nina因无法实现其视为生命的理想——成为一名成功的演员而得不到幸福。但他们都是对各自的生活不满, 将爱或成功看成是改善生存条件的惟一希望, 而当这种希望破灭时, 他们的悲剧命运就无法避免了。

关键词：《海鸥》,生存,悲剧命运,象征

参考文献

[1]Chekhov, Anton.The Seagull.Drama Classics[M].London:Nick Hern Books Limited, 1997.

[2]Esslin, Martin.The stage:reality, symbol, metaphor[A].

[3]James Redmond ed.Themes in Drama:Drama and Symbolisms[M]. Cambridge:Cambridge University Press, 1982.

轻视的代价 篇4

一日，年轻的约翰·洛克菲勒登门造访，想跟他洽谈一个运输项目。此时的洛克菲勒名不见经传，拥有的财富和名声远不及范德比尔特。

洛克菲勒来的时候，正巧赶上范德比尔特的家里还有其他几位贵宾和名人。在听完洛克菲勒的陈述后，范德比尔特冷冷地看了他一眼，以一种非常傲慢和不屑的口气说道：“年轻人，你的财力太弱了，凭什么跟我谈合作！”洛克菲勒被范德比尔特羞辱得一塌糊涂，恨不得立马钻进地缝里，但他还是笑脸相迎道：“我正朝着与您相配的方向努力，我想那一天会很快到来的！”

“那就等到那天到来时再谈吧，我还有很多正事要办。”范德比尔特不耐烦地将洛克菲勒打发走了。洛克菲勒心中充满了气愤，那一刻他发誓，一定要让范德比尔特为今天羞辱自己的这番话感到后悔！

风水轮流转，十多年后，洛克菲勒的事业开始风生水起，有了自己强大的石油公司。而范德比尔特却遇到了短暂的困难，急需与洛克菲勒的公司展开合作来救急。

“你必须请他亲自登门来谈。”洛克菲勒对范德比尔特派来的一位副手说道。无奈之下，老态龙钟的范德比尔特只好亲自来拜访比自己年龄小很多的洛克菲勒，并且答应了他所提出的全部合作条件。当他得知洛克菲勒就是当年自己羞辱的那位年轻人时，懊悔不已。

在走上坡路的时候要对别人好一点，若是能帮就帮他一把，因为你在走下坡路的时候很有可能遇见他，到时他对你的态度完全取决于当初你是如何对他的。

“绝对服从”的代价 篇5

在该案中，高云光等4名被告感到“委屈”的是：“我们只是杨秀珠棋盘中的一枚棋子。杨秀珠工作作风非常霸道，别人不敢说一个‘不’字！”；让他们感到“冤枉”的是：虽是帮助杨秀珠贪污，却未拿到一分钱；让他们感到后悔的是：奋斗了若干年，因自身言行“绝对服从”“领导”构成共同贪污罪，最终栽在了“绝对服从”上，是“绝对服从”的心态毁了自己。

既然“绝对服从”贻害无穷，那为什么仍然有人执迷不悟对其青睐热衷呢？在此，不妨对信奉“绝对服从”的人予以剖析。

缺乏骨气。面对“领导”的霸道、蛮横，有人误以为这样的“领导”说了算、有魄力，心中赞佩不已。对“领导”溜须拍马，低三下四。凡“领导”说的，毫不考虑，毫不含糊，坚决照办，坚决执行。纵然是“领导”让自己葬送前程、搭上身家性命之险，也心甘情愿，在所不辞，甚至以此表明对“领导”的忠心，得“领导”放心；有的以为霸道、蛮横的“领导”是“老虎屁股——摸不得”，怕引火烧身，怕影响职位升迁，怕“下岗”被炒鱿鱼，因而看风使舵，投“领导”之所好，仰“领导”之鼻息，逆来顺受，百依百顺。简直就是十足的“附属物”、奴隶相。

没了锐气。明知“领导”的行为违纪违法，明知“领导”的决定会带来非常可怕的后果，不指出，不规劝，更不去针锋相对、一针见血地予以批评和阻止，抱着“多一事不如少一事”的想法，任其发展，任其泛滥。“领导”需要自己举手就举手，需要自己同意就同意，反正不能站出来与“领导”辨黑白、论是非，更不能和“领导”相对抗，始终在言行上与“领导”保持高度一致。这样，既可以明哲保身，还不得罪“领导”，上面来考察干部时，“领导”不但能帮自己说好话，说不定还能推荐自己升个一官半职呢。

心存“侥”气。怀着侥幸心理，总以为“领导”是“大树”、“保护伞”，天塌下来有“领导”撑着呢！即便是东窗事发，“领导”神通广大，兴许“领导”上面还有更强的“坚强后盾”予以保护，因而无所顾忌，“领导”咋说就咋做，“领导”指哪儿就打哪儿。还有的信守“法不责众”，以为对个人违纪违法的处理会严重，对集体违纪违法的处理会从轻，集体“犯事”大不了写个检查做个检讨了事，依旧同流合污，狼狈为奸，陷入“近墨者黑”的境地不能自拔，最终因“拔出萝卜带出泥”，拴在一根绳上的蚂蚱——谁也没逃掉！

本想靠“绝对服从”求平稳，结果却引来自身和全家的揪心难受不平安；本想靠“绝对服从”有“靠山”，结果是“靠山”倒了自己也垮台受牵连；本想靠“绝对服从”仕途顺，结果是“乌纱”丢了锒铛入狱命悲惨。