阿拉比读后感（共8篇）

第1篇：阿拉比读后感

乔伊斯曾经说《都柏林人》的创作宗旨：“是要为我国的道德和精神史写下自己的一章”。但我以为，通过乔伊斯那敏锐的观察力揭示出来的有关都柏林人的精神状况，也可以说是全人类，尤其是现代社会人的精神状况。比如，《姐妹们》和《圣恩》所暗示的天主教信仰衰落的事实既是都柏林存在的现象，也是整个世界现代化过程中，人类思想世俗化过程中相伴随的现象。而《一小片阴云》里那个被上司侮辱的小职员不正是现代资本主义社会中被资本所压迫的人的一个缩影吗？还有《痛苦事件》，那个保持自身独立的知识分子的思想，大概在所有自有知识分子的脑海中都能窥见相似的痕迹。总之，生长于都柏林的乔伊斯，在其作品中无疑会带有周围环境影响的痕迹，但是我们决不能将《都柏林人》仅仅担当做一部地域性的小说。从一种以人为出发点的视角去阅读，无疑将给我们带来更大的启示。《阿拉比》

一个关于男孩暗恋的故事。小说起先着力刻画男孩心中无法遏制的爱火。接着着力渲染男孩焦急的心情：因为男孩为了赢得女孩的关注，希望到女孩向往的大市场“阿拉比”走一趟，可是原本答应给男孩路费的姑父确迟迟没有回家。最后，男孩拿着姑父的钱，赶在“阿拉比”关门前游览了市场。可是，当大厅灭灯之后，男孩对自己的幼稚和虚荣感到深深的悔恨。小说的结尾是个不小的转折，许多读者在阅读小数的前两部分时可能会猜测结尾是女孩正是接受男孩的结局。他们可能觉得，小说对男孩爱火以及他在等待姑父时焦急心情的渲染是为了突出结局的幸福感。可是，乔伊斯给他们一个意想不到的峰回路转。从而，小说有惊无险地脱离了浪漫爱情故事的俗套。这也意味这小说向现实更靠近了一步。毕竟，现实很少如人们的想象那样完美浪漫。人们往往收获的不是预料中的，而是意想不到的，也就在这些意想不到中，人们成长。

第2篇：阿拉比赏析 读后感 Araby

An Eay on Araby

Araby is one of fifteen short stories that together make up James Joyce's collection, Dubliners.Araby mainly tells about a boy who secretly loves a neighboring girl, Mangan‟s sister.This simple and pure love can be revealed through his action, his self-narration and his mentality, which can be best revealed in such sentences as “Every morning I lay on the floor in the front parlour watching her door.”, “Her image accompanied me even in places the most hostile to romance.”, and “My eyes were often full of tears and at times a flood from my heart seemed to pour itself out into my bosom.”, etc.From the language style of the novel, we could identify a figure of an adult narrator: a grown-up in recalling his youth.Although it described the love of a little boy, it was apparently not in the children‟s writing style or tone to narrate.The story is set in North Richmond Street in Dublin, which is “being blind”.The use of „blind‟ sets the basic tone for the whole environment in which the boy lives, as seen in such words as “musty”, “the dark muddy lanes” and “the dark dripping gardens”.In the story, the boy‟s complicated inner world during his frustrated quest for beauty is vividly described from the first person‟s point of view.In the novel, the boy lives with his uncle and aunt, instead of his parents, which implies he may be isolated and ignored sometimes and lacks proper relations between parents and children.We could also notice the boy‟s desire for love and care.We could also find many symbolisms in this story.For example, Mangan‟s sister, for whom the boy has tender feelings, symbolizes hope, and she is symbolically confined “have a retreat in her convent”.And the journey to the bazaar is a quest for the fulfillment of the aspiration, but the journey is “intolerable” delayed, and when the boy gets to the bazaar, half of it is already dark.What‟s more, the young lady at the door of a stall is “not encouraging”, and speaks to the boy “out of the sense of duty”.When the upper part of the hall is completely dark, the boy‟s disillusionment is announced.

第3篇：阿拉比赏析 读后感 Araby

An Eay on Araby

Araby is one of fifteen short stories that together make up James Joyce's collection, Dubliners.Araby mainly tells about a boy who secretly loves a neighboring girl, Mangan‟s sister.This simple and pure love can be revealed through his action, his self-narration and his mentality, which can be best revealed in such sentences as “Every morning I lay on the floor in the front parlour watching her door.”, “Her image accompanied me even in places the most hostile to romance.”, and “My eyes were often full of tears and at times a flood from my heart seemed to pour itself out into my bosom.”, etc.From the language style of the novel, we could identify a figure of an adult narrator: a grown-up in recalling his youth.Although it described the love of a little boy, it was apparently not in the children‟s writing style or tone to narrate.The story is set in North Richmond Street in Dublin, which is “being blind”.The use of „blind‟ sets the basic tone for the whole environment in which the boy lives, as seen in such words as “musty”, “the dark muddy lanes” and “the dark dripping gardens”.In the story, the boy‟s complicated inner world during his frustrated quest for beauty is vividly described from the first person‟s point of view.In the novel, the boy lives with his uncle and aunt, instead of his parents, which implies he may be isolated and ignored sometimes and lacks proper relations between parents and children.We could also notice the boy‟s desire for love and care.We could also find many symbolisms in this story.For example, Mangan‟s sister, for whom the boy has tender feelings, symbolizes hope, and she is symbolically confined “have a retreat in her convent”.And the journey to the bazaar is a quest for the fulfillment of the aspiration, but the journey is “intolerable” delayed, and when the boy gets to the bazaar, half of it is already dark.What‟s more, the young lady at the door of a stall is “not encouraging”, and speaks to the boy “out of the sense of duty”.When the upper part of the hall is completely dark, the boy‟s disillusionment is announced.The setting of Araby is immensely important;dreary, dark Dublin is the living, symbolic backdrop for the story.[citation needed] The gloomy atmosphere of North Richmond street that actually sets the scene at the start of the story is an anticipation of what lies ahead for the little boy in the bazaar of Araby.The first sentence of the story lets us know that North Richmond street is "blind," and that the Christian Brothers’ School did not so much dismi students for the day as "set them free." A quick scan of the important adjectives in the first paragraph--"blind," "quiet," "uninhabited," "detached," "square," "decent," "brown," "imperturbable"--quickly presents a world that is practical, simple, and unmitigatingly stultifying.As mentioned before, the boys who play in the neighbourhood are able, somehow, to discover some beauty and wander even from these simple surroundings, but to do so they must become connoieurs of darkne: the lanterns on North Richmond are "feeble," the lanes are "dark" and "muddy," the houses “sombre” in the winter twilight, the "dark dripping gardens" redolent with the smell coming from their “ashpits.” This description of the street and the lives the boys live on it serve as the backdrop that we will use to understand how much more imaginative the Araby market will be: or will not be.[citation needed]

Of course, the story’s greatest irony is just how misnamed the Araby market is.It is certainly not a wondrous evocation of the West’s idealized and romanticized notions of the Middle East.Rather, it is exactly the sort of disappointing market you would expect to appear in the Dublin Joyce describes.It is dark, and mostly empty, and hushed, and more about money than anything else.The market at the end of the story, by more resembling the rest of his life than the image of it he had conjured in his daydreams, forces the narrator to a bleak realization: the stark realities of day-to-day living have little to do with the romantic notions we carry in our heads.[citation needed] Style Joyce's writing in Dubliners is neutral;he rarely uses hyperbole or emotive language, relying on simplistic language and close detail to create a realistic setting.This ties the reader's understanding of people to their environments.He does not tell the reader what to think, rather they are left to come to their own conclusions;this is evident when contrasted with the moral judgements displayed by earlier writers such as Charles Dickens.This frequently leads to a lack of traditional dramatic resolution within the stories.It has been argued(by Hugh Kenner in Joyce's Voices, among others)[2] that Joyce often allows his narrative voice to gravitate towards the voice of a textual character.For example, the opening line of 'The Dead' reads "Lily, the caretaker's daughter, was literally run off her feet." She is not, in this instance, "literally" run off her feet, and neither would Joyce have thought so;rather, the narrative lends itself to a misuse of language typical of the character being described.Joyce often uses descriptions from the characters' point of view, although he very rarely writes in the first person.This can be seen in Eveline, when Joyce writes, "Her head was leaned against the window curtains and in her nostrils was the odour of dusty cretonne".Here, Joyce employs an empirical perspective in his description of characters and events;an understanding of characters' personalities is often gained through an analysis of their poeions.The first paragraph of A Painful Case is an example of this style, as well as Joyce's use of global to local description of the character's poeions.Joyce also employs parodies of other writing styles;part of A Painful Case is written as a newspaper story, and part of Grace is written as a sermon.This stylistic motif may also be seen in Ulyes(for example, in the Aeolus episode, which is written in a newspaper style), and is indicative of a sort of blending of narrative with textual circumstances.The collection as a whole displays an overall plan, beginning with stories of youth and progreing in age to culminate in The Dead.Great emphasis is laid upon the specific geographic details of Dublin, details to which a reader with a knowledge of the area would be able to directly relate.The multiple perspectives presented throughout the collection serve to present a broad view of the social and political contexts of life in Dublin at this time.

第4篇：阿拉比赏析读后感Araby

Araby

Araby mainly tells about a boy who loves a girl, she is Mangan’s sister.This simple and pure love can be seen through his action and his mentality, which can be revealed in some sentences as “Every morning I lay on the floor in the front parlour watching her door.”, “Her image accompanied me even in places the most hostile to romance.”, and “My eyes were often full of tears and at times a flood from my heart seemed to pour itself out into my bosom.”, etc.From the language of the novel, we seem to identify that a grown-up is recalling his youth.Although it described the love of a little boy.We know the story is set in North Richmond Street in Dublin.In the story, the boy’s complicated emotion world made us know his love to the beautiful girl.And in the novel, the boy lives with his uncle and aunt, instead of his parents, which seem to make us know he may be an orphan.He lacks the relationship between parents and children.the boy desired love and care.So he put his love on the girl.And the boy’s journey to the bazaar is delayed, and when the boy gets to the bazaar, half of it is already dark.What’s more, the young lady at the door of a stall is not enthusiastic..When the hall is completely dark, the boy’s eyes is burned with anguish and anger.140708204

于金明

第5篇：阿拉比译文

阿拉比

北理奇蒙德街的一头是不通的，除了基督兄弟学校的学童们放学回家那段时间外，平时很寂静。在街尽头有一幢无人住的两层楼房，跟一块方地上比邻的房子隔开着。街上其他房屋仿佛自以为有像样的住户，而沉下褐色的脸，互相凝视。

我们从前的房客，一个教士，死在这屋子的后客厅里。由于长期关闭，所有的房间散发出一股霉味。厨房后面的废物间里，满地都是乱七八糟的废纸。我在其中翻到几本书页卷起而潮湿的平装书：瓦尔特·司各特作的《修道院长》，还有《虔诚的圣餐者》和《维道克回忆录》。我最喜欢最后一本，因为那些书页是黄的。屋子后面有个荒芜的花园，中间一株苹果树，四周零零落落的几株灌木；在一棵灌木下面，我发现死去的房客留下的一个生锈的自行车打气筒。那教士是个心肠很好的人，他在遗嘱中把全部存款捐给了各种慈善机构，又把家具赠给他的妹妹。

到了日短夜长的冬天，晚饭还没吃完，夜幕就降落了。当我们在街上玩耍时，一幢幢房屋变得阴森森的。头上的夜空显出一片变幻的紫罗兰色，同街灯的微光遥遥相映。寒气刺骨，我们不停地玩着，直到浑身暖和。我们的喊叫声在僻静的街心回响。我们窜到屋子后面黑暗、泥泞的巷子里，遭到棚屋里那一伙野孩子的夹道鞭打；我们就跑到一家家幽暗阴湿的花园后门口，那里一个个灰坑发出难闻的气味。随后再到黑黝黝的满是马粪味的马厩去。马夫在那儿梳马，或敲着扣上的马具，发出铿锵的声音。当我们折回街道时，灯光已经从一家家厨房的窗子里透出来，把这一带照亮了。这时，假如我叔叔正拐过街角，我们便藏在暗处，直到他走进家门。如果曼根的姐姐在门口石阶上呼唤弟弟回家吃茶点，我们就在暗中瞧着她对街道东张西望。我们等着看她呆住不走呢，还是进屋去。要是她一直不进去，我们就从暗处走出来，没奈何地走到曼根家台阶前。她在等我们，灯光从半掩的门里射出来，映现出她的身影。她弟弟在顺从她之前，总要先嘲弄她一番，我则靠着栅栏望她。她一移动身子，衣服便摇摆起来，柔软的辫子左右挥动。

每天早晨，我躺在前客厅的地板上，望着她家的门。我总是把百叶窗拉下来，只留一英寸不到的缝隙，那样别人就看不见我了。她一出门走到台阶上，我的心就怦怦跳。我冲到过道里，抓起书就奔，跟在她后面。我紧紧盯住她穿着棕色衣服的身影。走到岔路口，我便加快步子赶过她。每天早晨都是如此。除了随便招呼一声,我从未同她讲过话。可是，她的名字总是使我蠢头蠢脑地激动。

甚至在最不适宜浪漫的想象的场合，她的形象也陪伴着我。每逢周末傍晚，我都得跟姑妈上街买东西，替她拎一些包。我们穿行在五光十色的大街上，被醉鬼和讨价还价的婆娘们挤来挤去，周围一片喧嚣：劳工们在诅咒，站在一桶桶猪颊肉旁守望的伙计们尖声叫嚷，街头卖艺人用浓重的鼻音哼着赞美奥唐纳万·罗沙的《大伙儿都来》，或一支感叹祖国**的歌谣。这些噪声汇合成一片众生相，使我对生活的感受集中到一点：仿佛感到自己捧着圣餐杯，在一群仇敌中间安然穿过。有时，在莫名其妙地做祷告或唱赞美诗时，她的名字会从我嘴里脱口而出，我时常热泪盈眶（自己也说不清为什么）。有时，一股沸腾的激情从心底涌起，流入胸中。我很少想到前途。我不知道自己究竟会不会同她说话，要是说了，怎么向她倾诉我迷惘的爱慕。这时，我的身子好似一架竖琴，她的音容笑貌宛如拨弄琴弦的纤指。

有一天，薄暮时分，我踅到教士在里面死去的后客厅内。那是一个漆黑的雨夜，屋子里一片沉寂。透过破碎的玻璃窗，我听到雨密密麻麻泻在土地上，针尖似的细雨在湿透了的花坛上不断跳跃。远处，有一盏街灯或谁家窗口透出的光在下面闪烁。我庆幸自己不能看清一切。我的全部感官似乎想隐蔽起来，我觉得自己快要失去知觉了，于是把双手紧紧合在一起，以致手颤抖了，一面喃喃自语：“啊，爱！啊，爱！”

她终于跟我说话了。她一开口，我就慌乱不堪，呆在那儿，不知道说什么好。她问我去不去阿拉比。我记不起怎么回答的。她说那儿的集市一定丰富多彩，她很想去呐。“为啥不去呢?”我问。

她不断转动着手腕上的银镯子说，她不能去，因为这一礼拜女修道院里要做静修。那时，她弟弟正和两个男孩抢帽子。我独自站在栅栏前。她搭着一根栏杆的尖端，低下头，凑近我。门对面，街灯的光照着她白嫩的脖子的曲线，照亮了披垂的头发，也照亮了搁在栏杆上的手。她稍微叉开腿，从容地站着，灯光使她衣服的一边清晰可见，正好映出衬裙的白色镶边。

“你真该去看看，”她说。

“我要是去，”我说，“一定给你捎点什么的。”

从那一晚起，数不清的愚蠢的怪念头充塞在我白天的幻想和夜半的梦中！但愿出发前那段乏味的日子一下子过去。学校里的功课使我烦躁。每当夜晚在寝室里或白天在教室中读书时，她的形象便闪现在我和啃不进的书页之间。Araby（阿拉比）这个词的音节在静谧中隐隐然回响，我的心灵沉溺在寂静中，四周弥漫着魅人的东方气息。我要求让我星期六晚上到阿拉比集市去。姑妈听了吃一惊，疑心我跟共济会有什么勾搭。在课堂里，我难得回答出问题。我瞧着老师的脸从和蔼变成严峻。他说：“希望你不要变懒了。”我成天神思恍惚。生活中的正经事叫我厌烦，它们使我的愿望不能尽快实现，所以在我看来，都像儿戏，单调而讨厌的儿戏。

星期六早晨，我对姑父说，晚上我要到集市去。他正在衣帽架边手忙脚乱地找帽刷子，便漫不经心地说：

“行，孩子，我知道了。”

他呆在过道里，我就没法去前厅，趴在窗口眺望了。我悻悻地离开家门，缓缓地走向学校。空气透骨地阴冷，我心里一阵阵忐忑不安。

回家吃饭时，姑父还没回来。时光还早呢。我坐着望了一会儿钟，滴答滴答的钟声叫我心烦意乱，便走出屋子，登上楼梯，走到楼上。那些高敞的空房间，寒冷而阴郁，却使我无拘无束。我唱起歌来，从一个房间跑到另一个房间。透过正面的玻璃窗，我看见伙伴们在街上玩耍。他们的喊声隐隐约约传到耳边。我把前额贴住冰冷的玻璃窗，望着她住的那栋昏暗的屋子。约莫一个小时过去了，我还站在那儿，什么都没看见，只在幻想中瞧见她穿着棕色衣服的身形，街灯的光朦胧地照亮曲线的脖子、搁在栏杆上的手，以及裙子下摆的镶边。

我再下楼时，看见当铺老板的遗孀默塞尔太太坐在火炉边。这个长舌妇，为了某种虔诚的目的，专爱收集用过的邮票。我只好陪着吃茶点，耐着性子听她嚼舌。开晚饭的时间早已过了一小时，姑父还没回来。默塞尔太太站起身来说:“对不起。”不能久等，八点过了，她不愿在外面待得太晚，夜里的风她受不了。她走后，我在屋里踱来踱去，紧攥着拳头。姑妈说：

“上帝啊，兴许今晚去不成了，改天再去看集市吧。”

九点，我忽然听见姑父用弹簧锁钥匙在开过道门。接着听见他自言自语，听到衣架被他挂上去的大衣压得直晃荡。我能猜出这些声音意味着什么。晚饭吃到一半，我向他要钱到集市去。他已把这件事给忘得一干二净了。

“人们早已上床，睡过一阵了，”他说。

我没笑。姑妈大声说：

“还不给钱让他去？！他已经等得够长啦！”

他说非常抱歉，忘了这件事。尔后又说，他很欣赏那句老话：“只工作不玩耍，任何孩子都变傻。”他又问我去哪儿，于是我再讲一遍。他便问我知不知道《阿拉伯人向骏马告别》。我走出厨房时，他正要给姑妈背诵那故事的开场白哩。

我紧紧攥着一枚两先令银币，沿着白金汉大街，向火车站迈开大步走去。街上熙熙攘攘，尽是买东西的人，煤气灯照耀得如同白昼，这景象提醒我快到集市去。我在一列空荡荡的火车的三等车厢找了个坐位。火车迟迟不开，叫人等得恼火，过了好久才慢慢地驶出车站，爬行在沿途倾圮的房屋中间，驶过一条闪闪发亮的河流。在威斯兰罗车站，来了一大群乘客，往车厢门直拥。列车员说，这是直达集市的专车，这才把他们挡回去。我独自坐在空车厢里。几分钟后，火车停在一个临时用木头搭起的月台旁。我下车走到街上。有一只钟被亮光照着，我瞅了一眼：九点五十分。我的面前矗立着一座大建筑物，上面闪亮着那魅人的名字。

我怎么也找不到花六便士就能进去的入口。我生怕集市关门，便三脚两步穿过一个旋转门，把一个先令付给一位神情疲惫的看门人。我发现走进了一所大厅，周围环绕着只有它一半高的游廊。几乎所有的棚摊都打烊了。大半个厅堂黑沉沉的。我有一种阒寂之感，犹如置身于做完礼拜后的教堂中。我怯生生地走到商场中间。那儿还有些人围着仍在营业的摊子；一块布帘上用彩灯拼成“乐声咖啡馆”几个字。两个男子正在一只托盘上数钱。我倾听着铜币落盘时的叮当声。

我搜索枯肠，才想起为什么到这儿来，便随意走到一个搭棚的摊子前，端详陈列在那里的瓷花瓶和印花茶具。棚摊门口有个女郎，正同两位年轻的先生说笑，我听出他们的英国口音，模模糊糊听着他们交谈。

“噢，我从没说过那种事。”

“哎，你肯定说过。”

“不，肯定没有！”

“难道她没说过？”

“说过的，我听见她说的。”

“啊，这简直是……胡说。”

那位女郎看见我，便走过来问要买什么。她的声音冷冰冰的，好像出于责任感。我诚惶诚恐地瞧着两排大坛子，它们竖在摊子门口两侧，恰似东方卫士；我低声说：

“不买，谢谢。”

那女郎把一只花瓶挪了一下，然后回到两个年轻人身边去了。他们又谈起同一个话题。那女人回头瞟了我一两次。

我逗留在她的棚摊前，仿佛真的对那些货物恋恋不舍一般，尽管心里明白，这样呆着毫无意思。最后，我慢吞吞地离开那儿，沿着集市中间的小道走去。我把两个便士丢进口袋,跟里面一枚六便士的硬币碰响。接着，我听见长廊尽头传来熄灯的喊声。顿时，大厅上方漆黑一片。

我抬头凝视着黑暗，感到自己是一个被虚荣心驱使和播（拨）弄的可怜虫，于是眼睛里燃烧着痛苦和愤怒。

第6篇：Of the Symbolic Meanings in Araby 赏析阿拉比 象征意义 阿拉比读后感

Of the Symbolic Meanings in Araby James Joyce is a world-renowned writer who is skilled in employing symbolic meanings to the surroundings and backgrounds which seem quite simple and plain but actually bear rich information.The short novel Araby is a typical example.First of all, the symbolic technique begins with the title Araby.The word "Araby" shares a similar

spelling with "Arab".Definitely, it is neither a coincidence nor a spelling mistake.In other words, the author names it on purpose.Arab is an ideal destination full of oriental mystery and magic from the Westerners’ points of view.In the hero’s opinion, his beloved girl is as perfect as the bazaar Araby.Then what is the reality? On one hand, the boy finds himself in a big hall girdled at half its height by a gallery.Nearly all the stalls are closed and the greater part of the hall is in darkne.Obviously, here Araby in reality has a totally different symbolic meaning from the previous imagination.To be specific, here Araby symbolizes the dull society of Ireland.On the other hand, he is shocked by the flirting of a young lady in the bazaar.So much to his surprise, Araby is not that wonderful and what’s worse, those good-looking girls are not that pure.Both points shatter his illusion of purene.Besides, it is easy to find the symbolism in the whole paage, which implies the sharp contrast between the imagination and reality, and foretells the boy’s inevitable frustration."North Richmond Street, being blind, was a quiet street…”, here the author tends to tell us that surrounded by such an experienced society, it is impoible for the boy to find way out of the shackles of "blind street".Such kind of techniques can be found almost every paragraph, I have named just a few.There is an old saying “Le is more", to this point, I can not agree more and James Joyce sets a pretty good example for us.Without tedious and dull descriptions, he is expert in using sublime words with deep meaning by employing symbolic meanings to the surroundings and backgrounds.

第7篇：汉谟拉比法典读后感

叹那法典

‚用楔形文字刻下了永远，那已风化千年的誓言……‛ 听着Jay的《爱在西元前》，熟悉的曲调让我重新拿起《汉谟拉比法典》，静静地品读三千七百多年前的光明与黑暗。

在古巴比伦王国汉谟拉比统治时期，两河流域的君主制经过长期的斗争得以确立。为了加强法制建设，巩固奴隶主的政权，他颁布了《汉谟拉比法典》。法典正文共有282则条文，其内容涉及刑事、民事、贸易、婚姻、继承、审判等方面，意在调解经济、社会和婚姻关系。品读《汉谟拉比法典》，感受人性的明亮与晦暗。

尽管法律条文只有282条，但其在严密性方面却值得称著。如9~13条所涉及的‚失物买卖案‛，提到了失主、买主与卖主之间的利益纷争，其考虑到了多方面可能出现的情况并对症下药，较为有效地避免了钻法律空子现象的出现。

法典还体现了强烈的证据意识。一方面，在处理案件时，如出现控告或出庭作证等问题时，需要经过严格证实，否则将被判诬告或伪证反告（即使是法官出现问题也应如此）；另一方面，当出现经济纠纷时，如一方既无证人又无文约，那么他将白白丧失许多东西，甚至于生命。通过法律的约束或者说间接统治，普遍增强了人们的证据意识，减少司法混乱，而这也推进了社会和谐，巩固了奴隶统治。

‚弟子入则孝，出则悌，谨而信……‛与孔夫子的《论语》有异曲同工之妙，法典也显现了伦理的光辉。首先，法典点出了百善之首——孝的重要性，当然，是通过刑罚而体现的.第192条‚ 如果宫廷侍者或宫廷侍女的孩子对他的养父、养母说：‘你不是我父亲，你不是我母亲。’那么应割掉他的舌头。‛第195条‚如果儿子打了他父亲，应割掉他的手。‛ ……割手﹑挖眼睛、割舌头…种种刑罚，是对忤逆者的无言的控诉。百善孝为先，万恶淫为源。继孝之后，法典在伦理道德方面又提到了对不伦之性关系的处理。针对不同类型的犯罪情形，其处罚也不尽相同，更具有特殊性。从上可看出，法典很注重加强人们的思想道德建设，以构建更和谐的社会。

梁启超提到，‚人生须知负责任的苦处，才能知道有尽责的乐趣.。‛而《汉谟拉比法典》中的内容则较多的解释了‚责任‛这个词的含义。从‚放水灌溉致冲坏邻田‛，到‚职业人员从业问题‛，再到立法明确的的租赁关系，无不宣讲‚何人应向何人负责任的‛的道理。而明确责任后的双方，争斗发生的可能性将大大减小，以至于营造了良好的气氛。

1789年，法国资产阶级革命成功后，颁布了《人权宣言》，提出‚私有财产神圣不可侵犯‛的论断。而今，在看到《汉谟拉比法典》中有关私有财产的条文后，不禁感叹古巴比伦人民的智慧与眼光。‚如果一个人破宅而入，那么应该在那豁口处将他处死，再把他吊起来。‛尽管在现在看来，以严刑酷法的方式保护人们的私有财产有其不合理之处，但处在当时的社会环境其无可厚非。文明与野蛮交织，有时要进步必须用重典！

法典的亮点可谓是多多，但它同样存在一些令人诟病的地方，毕竟，它产生在特定的历史背景下。无疑，它保留了一些古老的传统。其中，最令人惊讶的是它的同态复仇原则——‚以牙还牙，以眼还眼‛。地位同等的两人，如一方给另一方制造了伤害，则他本身亦应接受同等伤害，毫无借口可言。更甚的是，当两者地位不同时，比如一个人同样的行为施加在穆什钦怒努或奴隶身上，那么用钱

可以解决一切问题。不得不承认，现代社会也存在‚金本论‛的思想，这或许是经济发展的必然产物吧！

在当今国际社会，维护和保障人权是一项基本道义原则。而在古巴比伦，奴隶毫无权利可言，稍有过失就受到断肢的可怕惩罚。法典指出，奴隶是不受法律保护的工具和财产，不属于人的范畴。可以说，其与现在中国所倡导的‚以人为本‛理念是如此的格格不入。而究其原因，很无奈，这是奴隶社会中维护奴隶主利益的必要之法。它应该也必须公开确立奴隶主阶级的统治地位，确保奴隶主的利益不受侵犯。事实上，一部法律绝对代表着立法者的利益。而对奴隶主而言，维护对奴隶的绝对统治，是最基本的价值追求。

法典中弥漫着迷信的气息，不可否认过去的人们有着一丝愚昧。一部分，在处理‚控告别人犯巫术罪‛和‚不贞嫌疑‚时，其采取神罚手段，要求把嫌疑人浸到河里，让河神证明其清白。再者，提到处理‚抢劫无患投资‛或‚租牛被神击（自然灾害）而死‛问题时，当事人只要对神发誓就没有责任了。从个人来讲，法典将难判案件交由神来解决或对神起誓就了事，似乎太过单薄了。一定程度上，暴露了古巴比伦王国法律还存在严重的缺失，离‚法治‛还有很长的路要走。

接下来，是关于条文对妇女地位的判定。可以说，法典中有许多歧视妇女的 条文，这也加剧了妇女地位不平等现象的发生。第109条，“如果歹徒在卖酒妇的店里聚集，而她没有抓住那些歹徒„„将被处死”。毫无疑问，这就是赤裸裸的歧视！妇女本身就力量弱小，又谈何去制服强悍的歹徒呢？由此可见法典之苛刻与不公。而与中国封建社会相类似的是，妇女一直处在弱势。如第129条，对通奸者的处置相仿于中国的“浸猪笼”；而第145条，关于纳第图与淑吉图，则迎合了中国的“三妻四妾”观念。

但需要正视的是，与中国封建制度相比，其对妇女的权益也有一些保护，相对有一定的松弛性。在第133条中，如一个人被俘，其妻子可根据家中是否有粮

食来规定自身的行为。在第148条中，若一个人的妻子得了拉布（皮肤？）病，他可以再娶但须供养患拉布病的妻子，若是她要离去，则他得同意并全数偿还嫁妆。而在中国，是提倡贞节的，丈夫若死，妻子应追随而去或终生守寡，否则就是违背了贞节道义。当时，设立贞节牌坊也很好地映证了这一方面。

“为了判决国中的官司，为了做出国中的决定，理正冤案，我把我宝贵的话„„”正如结语所强调，汉谟拉比依靠该法典缓和了社会矛盾，较好的处理了奴隶和奴隶主之间的关系，为古巴比伦王国的强盛奠定了坚实的基础。

作为特殊时代的产物，《汉谟拉比法典》不免存在一些局限性。但是，我们应该正确认识它的价值。在后世法律的制定中，或多或少都受到了它的影响，这在于它的地位——世界上现存的古代第一部比较完整的成文法典。

《汉谟拉比法典》，或许可以说是一个古巴比伦社会的缩写，沉浸其中，我们会学到很多，无论是现在，还是未来！

第8篇：《阿特拉斯耸耸肩》读后感

我以我对生命的热爱发誓，我不为别人而活，也不要求别人为我而活。

有太多触动我的句子，看到的瞬间让感受到是一种清醒的、理智的光芒在照亮从前浑浑噩噩的时光。

我不可以对自己撒谎，却在祷告时向神祈求财富和更好的人生。

这是需要我自己去努力创造的，神若是公正，便不会向任何人徇私。

业力与福报的积累，正是最公正的宣判，善与恶不是较量，没有较量，只是每个灵魂为自己选择的路不同罢了。

人为自己的目标而奋斗，才会迸发出强烈的动力，才会去承受近乎苛刻的付出，要求自己，而不是放任。

任何时候都不要给自己找借口，看到自己已经拥有的一切，遇到问题解决问题。

在做命理解读的时候我常常跟顾客说，人生的体验要靠自己。

但是我以前从未真正明白，命盘就是神的礼物。

一路的坎坷崎岖都摆在面前，勇往直前不算最勇敢的。明知道道路曲折依然不放弃努力，依然去追求自己能到达的最高处，去承受痛苦，去解决问题，去创造，去体会生命的光荣，才是勇敢。

书里质疑神的存在，而我认为作者质疑的是以神为借口的逃避主义者。

以前在看到不同的观点时，我心里第一感觉是害怕，是排斥，害怕它摧毁我既有的信念，拒绝去深想，但是今天我承受住了，我多想了一步，我能理解作者想凸显的美好和我心中所深信的神性的美好是一致的。

即便下次我真的看到矛盾对立的观念冲击，我也要多想一层，用自己的认知去分辨对错优劣。

更多的可能是，对立会完善我的认知。

我要对自己诚实，信任自己的道德感，想要任何东西都要用自己的价值去换，用自己的付出去换，用自己的创造去换。

我要对自己诚实，不通过任何欺骗和包装的手段立人设，不去获取不属于我的信任。

踏踏实实地进步，明确地告知别人自己所能提供的帮助，坦坦荡荡地成长。

我有自己的宇宙观，也要靠自己去修行验证。

这是我要为之负全部责任的，我自己的人生。

篇读后感

爱国篇读后感（共14篇）

科比读后感

白马篇读后感

为政篇读后感