第一篇：雙城記 狄更斯 讀后感

艱難時(shí)世下的憂慮與期盼

——鑒賞《雙城記》

時(shí)代從不曾屈服于任何形式的毀滅與焚燒，沉寂的數(shù)年光陰，只是為了在一個(gè)開始或是結(jié)束，聲嘶力竭的喊出世紀(jì)的起伏。遲暮之年，狄更斯不再屈服大時(shí)代背景下的宏偉與荒涼，不再隨意采擷繁衍的枝枝葉葉。經(jīng)歷了大半生的起起伏伏，狄更斯對(duì)于社會(huì)問題的思考已經(jīng)轉(zhuǎn)變成對(duì)于社會(huì)制度的思考，或許，他徹悟，統(tǒng)治階級(jí)的暴虐奢靡必然導(dǎo)致社會(huì)和人民殘酷激烈的報(bào)復(fù)和制度的更替變換。

十八世紀(jì)爆發(fā)的那場(chǎng)空前壯大的法國資產(chǎn)階級(jí)革命，就成為了狄更斯對(duì)于社會(huì)最深刻的思考，借由法國所發(fā)生的革命向英國統(tǒng)治階級(jí)敲響警鐘，更多的是對(duì)社會(huì)的憂思，狄更斯把革命之后的英國和法國相對(duì)比，力圖根據(jù)一個(gè)國家的經(jīng)歷和經(jīng)驗(yàn)，來預(yù)言和祈禱另一個(gè)國家的未來，由此，《雙城記》也就這樣緩緩拉開了帷幕。

“這是最好的時(shí)代，這是最壞的時(shí)代；這是智慧的世紀(jì)，這是愚蠢的世紀(jì)”——狄更斯在小說開篇這樣寫道。小說的開頭，便是倫敦與巴黎的比較，一七七五年的英國與一七七五年的法國的比較，而其實(shí)隨著故事隨后的發(fā)展，在緩慢的陳述過程中兩個(gè)國家逐漸的變成了一種奇怪的對(duì)立。他在文中將英國的現(xiàn)狀理想化。英國在當(dāng)時(shí)的法國資產(chǎn)階級(jí)革命背景下其實(shí)是一個(gè)隱藏的反動(dòng)代表，但是卻在作者筆下卻畫風(fēng)轉(zhuǎn)變成了描寫資產(chǎn)階級(jí)斗爭(zhēng)的替代品，所以當(dāng)時(shí)的英國社會(huì)，其實(shí)是資產(chǎn)階級(jí)政治斗爭(zhēng)最為殘酷和鋒利的戰(zhàn)場(chǎng)。此時(shí)的十九世紀(jì)，社會(huì)現(xiàn)狀就像是處在天平兩端不斷抖動(dòng)互不相容的矛盾體，可以說這是好的，可以說這是壞的。當(dāng)社會(huì)現(xiàn)狀再也無法維持平衡時(shí)，顯然天平已經(jīng)開始偏向一方壓倒。

狄更斯在小說中講出了多年來一直縈繞在他心頭上的擔(dān)憂，他看到了英國社會(huì)隱藏潛在的種種災(zāi)難。狄更斯一方面談到對(duì)于巨大變革發(fā)生的愿望，希望英國社會(huì)的罪惡統(tǒng)治能夠得到終結(jié)，可是同時(shí)，他也擔(dān)憂著革命真正的爆發(fā)。

小說中所圍繞的最基本主題，就是革命的主題，整部小說都貫穿于在十七世紀(jì)背景下相互不同卻又相同的兩個(gè)城市——倫敦和巴黎的對(duì)比。

《雙城記》第一部分的社會(huì)描寫并沒有現(xiàn)代生活的奢靡華麗，相反，狄更斯在刻畫他所深惡痛絕的舊社會(huì)政治制度的時(shí)候，并沒有想要淡化革命后的結(jié)果所造成的影響，他甚至是拒絕的。狄更斯在描寫這種“舊制度”時(shí)，強(qiáng)調(diào)指出人民饑餓貧窮的生活和統(tǒng)治階級(jí)奢靡專橫的生活。這種鮮明的對(duì)比，再一次映射了小說的主題。

后來反觀主題，一直都是圍繞著革命進(jìn)行討論和深思，在動(dòng)蕩的社會(huì)環(huán)境下和混亂的時(shí)代背景下，作者其實(shí)一直都無意去深究或是批判當(dāng)時(shí)的法國革命，他深知那是社會(huì)歷史演進(jìn)過程中必須經(jīng)歷的重要過程。所以在小說最后三分之一處，對(duì)于當(dāng)時(shí)真實(shí)發(fā)生的法國革命描寫才剛開始。而法國大革命也確實(shí)是一次復(fù)雜的革命，經(jīng)過長(zhǎng)時(shí)間隱匿的醞釀，曲折迂回，也代表了社會(huì)各階層各黨派之間的斗爭(zhēng)，最后改變了社會(huì)。在描寫之后，作者將批判現(xiàn)實(shí)主義文學(xué)中所描寫的“現(xiàn)實(shí)”部分，很真實(shí)很準(zhǔn)確的敘寫下來。狄更斯直言，這些情況都是最真實(shí)可信的目擊者在正確無疑時(shí)引述的內(nèi)容。狄更斯在用自己獨(dú)特的歷史視角來仔細(xì)觀察法國革命背景下的英國社會(huì)。狄更斯懷揣著自己的滿腔憤怒，渴望揭露社會(huì)制度的弊端與盲點(diǎn)，但是他看不到歷史的前途，所以轉(zhuǎn)而描述這場(chǎng)革命，特別是抨擊雅各賓黨人的恐怖行為。在他看來，那是雅各賓黨人罪惡與殘暴的時(shí)期。在小說后半部分，我們看到他描寫下的真實(shí)，恐怖時(shí)代是沒有人性的慘案和暴戾肆虐的時(shí)代。

狄更斯與同時(shí)期的許多資產(chǎn)階級(jí)激進(jìn)派一樣，看到了當(dāng)時(shí)社會(huì)的弊端，但是他們本身的立場(chǎng)賦予他們的權(quán)利僅僅是去倡導(dǎo)改良，而不是去發(fā)動(dòng)激烈的革命和階級(jí)的反抗。英國在十七世紀(jì)時(shí)各階級(jí)之間的斗爭(zhēng)和階級(jí)矛盾已經(jīng)到了爆發(fā)革命的臨界點(diǎn)，伴隨著工業(yè)革命的興起，工人階級(jí)與資產(chǎn)階級(jí)的矛盾斗爭(zhēng)是當(dāng)時(shí)社會(huì)最主要最基本的矛盾。面對(duì)爆發(fā)三次的憲章運(yùn)動(dòng)和當(dāng)時(shí)歐洲大陸各地此起彼伏的革命，人心惶惶不安，社會(huì)動(dòng)蕩紛爭(zhēng)，在文學(xué)領(lǐng)域內(nèi)，關(guān)于改革、歷史、社會(huì)的批判現(xiàn)實(shí)主義著作如雨后春筍般紛紛出書，激進(jìn)派們想通過文學(xué)作品來警示當(dāng)時(shí)安于現(xiàn)狀的人民，不要被社會(huì)的假象所迷惑，應(yīng)該清晰的看到社會(huì)中隱藏的諸多政治上、階級(jí)上、制度上的矛盾和弊端，人們應(yīng)該積極的參與革命運(yùn)動(dòng)，反抗那些苦難與壓迫。

《雙城記》的另一個(gè)主題，是關(guān)于人道主義與復(fù)仇主義的討論。

馬奈特醫(yī)生是《雙城記》中最使人同情的一個(gè)人物，同時(shí)也是人道主義的典型代表，在他身上，愛與救贖的最終意義得到了最好的詮釋。年輕時(shí)他是著名醫(yī)生，一次偶然使他知道了艾佛瑞蒙德兄弟所干的丑事，出于對(duì)良知的不安和自己道德的譴責(zé)，還有對(duì)于受害者的同情，他控訴了艾佛瑞蒙德兄弟的惡行，卻由此，被暗害到巴士底獄囚禁十八年，十八年的慘無天日，十八年的親眷分離，十八年的寒冷黑暗，從當(dāng)時(shí)的而立之年變成了鬢發(fā)花白、神志不清的可憐老人，他忘記了自己，甚至忘記了生命。直到十八年后與女兒的見面，喚醒了人性和溫情，女兒的愛，給了他新生。狄更斯用馬奈特醫(yī)生曾經(jīng)遭遇過的悲慘的遭遇和他后來仍舊為了道德為了查爾斯的奔走幫助，描寫了一個(gè)集愛與救贖于一身的人道主義的真實(shí)代表。

除此之外，還有對(duì)于卡屯的刻畫，也可以說他才是《雙城記》的真正靈魂。他用自我犧牲的高尚精神使得人道主義內(nèi)涵有了最深刻最偉大的表達(dá)，他的犧牲雖然是悲劇，卻充滿了感動(dòng)。他是平凡又不平凡的人，他是重要又不重要的人，但是他卻是人道主義的最高代表。

而德伐日太太則是復(fù)仇主義的代表，她使讀者矛盾于對(duì)她的感情，她的經(jīng)歷使得她受人同情，她的所作所為也使人深惡痛絕。德伐日太太與普絡(luò)絲小姐的人物對(duì)比，同時(shí)是仇恨與善良的對(duì)立，因?yàn)閺?fù)仇主義最終是錯(cuò)誤的，德伐日太太也最終死在自己的槍下。狄更斯更借此表明他堅(jiān)信人道主義終將超越復(fù)仇主義。

狄更斯在《雙城記》中對(duì)于這些主要人物的描寫，深化了人道主義內(nèi)涵，證明了人道主義終將超越復(fù)仇主義。也通過對(duì)人物的刻畫，表明了人道主義才是推動(dòng)社會(huì)發(fā)展的最正確也是最好的選擇，人道主義才是時(shí)代的主題。

在小說的結(jié)尾處，作者再一次將兩個(gè)國家進(jìn)行比較。“在那個(gè)時(shí)代，當(dāng)人們收獲從來沒有播種過的東西時(shí)，天生的英國人以他所固有的直率觀察世界上唯一的現(xiàn)象那樣，去觀察這個(gè)可怕的革命??當(dāng)他們觀察了這個(gè)不幸的法國人民中千千萬萬人的命運(yùn)，看見這個(gè)國家的財(cái)富完全被糟蹋和耗盡，看見這個(gè)國家的繁榮在滅亡??在這個(gè)事件發(fā)生前的好多年，他們就早已預(yù)言事件的結(jié)束。”映射小說的主題。

《雙城記》最后的主題就是作者在最后借由卡屯的意識(shí)來闡述的復(fù)活和永生——這就是《雙城記》的最終主題。其實(shí)讀到最后，能夠清楚的感受到狄更斯對(duì)于卡屯所注入的心血，也可以說卡屯既是小說的真正主角，也是小說的真正靈魂，在他的人道主義光芒下，使得那些映射著社會(huì)陰暗面所描寫出的人物黯然失色。

最后總結(jié)這部十九世紀(jì)聞名遐邇、意義深遠(yuǎn)的批判現(xiàn)實(shí)主義巨著，小說深刻清晰的揭露出法國大革命時(shí)期社會(huì)中的種種矛盾的激化，強(qiáng)烈地抨擊統(tǒng)治階層的暴虐淫亂，深深同情人民的痛苦遭遇。作者明確指出，人民的忍耐是有限度的，在剝削和殘暴達(dá)到一定階段的時(shí)候，人民必然會(huì)激烈的反抗。小說同時(shí)也表現(xiàn)了人民群眾的偉大力量。同時(shí)，作者在人道主義立場(chǎng)上，反對(duì)壓迫在人民身上的殘忍政治，也反對(duì)革命使用過于激烈手段反而造成新的**。

通過描寫多個(gè)人物的經(jīng)歷，命運(yùn)多舛的遭遇，有美好，有希望，有毀滅，有殘忍，狄更斯用這些人物一生的起伏跌宕，來闡述自己對(duì)于英國社會(huì)的憂思和希望，借由著法國這場(chǎng)意義重大的革命運(yùn)動(dòng)，為英國的政治統(tǒng)治敲響意義沉重的警鐘。

就如作者那句驚醒人心的開場(chǎng)白一般，無論是過去，還是現(xiàn)在，亦或是未來，我們所生活的每個(gè)時(shí)代，都是最好和最壞的時(shí)代。

第二篇：狄更斯雙城記名言

1、我愛你，不是因?yàn)槟闶且粋€(gè)怎樣的人，而是因?yàn)槲蚁矚g與你在一起時(shí)的感覺。

2、有些書，其封底和封面是最為精華之部分。

3、在遇到夢(mèng)中人之前，上天也許會(huì)安排我們先遇到別的人；在我們終于遇見心儀的人時(shí)，便應(yīng)當(dāng)心存感激。

4、分離許許多多的結(jié)合，就構(gòu)成了生活。

5、愛你的人如果沒有按你所希望的方式來愛你，那并不代表他們沒有全心全意地愛你。

6、對(duì)于世界而言，你是一個(gè)人；但是對(duì)于某個(gè)人，你是他的整個(gè)世界。

7、家是一個(gè)名字，一個(gè)非常強(qiáng)大的字眼。它比最為強(qiáng)大的魔法中，巫師說過，神靈回答過的字眼，都更加強(qiáng)大。

8、失去某人，最糟糕的莫過于，他近在身旁，卻猶如遠(yuǎn)在天邊。

9、不要為那些不愿在你身上花費(fèi)時(shí)間的人而浪費(fèi)你的時(shí)間。

10、準(zhǔn)確地說，建設(shè)性和創(chuàng)造性之間的區(qū)別是這樣：建造的事物只能建好后被人所愛；而創(chuàng)造的事物尚未問世就受人喜愛。

11、那是最美好的時(shí)代，那是最糟糕的時(shí)代；那是智慧的年頭，那是愚昧的年頭；那是信仰的時(shí)期，那是懷疑的時(shí)期；那是光明的季節(jié)，那是黑暗的季節(jié)；那是希望的春天，那是失望的冬天；我們擁有一切，我們一無所有；我們?nèi)荚谥北继焯茫覀內(nèi)荚谥北枷喾吹姆较?-簡(jiǎn)而言之，那時(shí)跟現(xiàn)在非常相象，某些最喧囂的權(quán)威堅(jiān)持要用形容詞的最高級(jí)來形容它。說它好，是最高級(jí)的；說它不好，也是最高級(jí)的。

12、內(nèi)心有心弦，但最好不要顫動(dòng)。

13、不要因?yàn)榻Y(jié)束而哭泣，微笑吧，為你的曾經(jīng)擁有。

14、這是最好的時(shí)代，也是最壞的時(shí)代；是智慧的時(shí)代，也是愚蠢的時(shí)代；是信仰的時(shí)代，也是懷疑的時(shí)代；是光明的季節(jié)，也是黑暗的季節(jié)；是充滿希望的春天，也是令人絕望的冬天；我們的前途擁有一切，我們的前途一無所有；我們正走向天堂，我們也正直下地獄。

15、在別人身上浪費(fèi)一日，并非在自己身上浪費(fèi)一天。

16、時(shí)之圣者也，時(shí)之兇者也。此亦蒙昧世，此亦智慧世。此亦光明時(shí)節(jié)，此亦黯淡時(shí)節(jié)。此亦篤信之年，此亦大惑之年。此亦多麗之陽春，此亦絕念之窮冬。人或萬物具備，人或一事無成。我輩其青云直上，我輩其黃泉永墜。當(dāng)時(shí)有識(shí)之士咸謂人間善惡或臻至極，亦必事有所本，勢(shì)無可綰。但居之習(xí)之可也。

17、要有一顆永不變硬的心，一付永不厭倦的脾氣，以及一種永不受損的風(fēng)格。

18、世界有陰影，但亮光在對(duì)比下顯得更強(qiáng)。

19、縱然傷心，也不要愁眉不展，因?yàn)槟悴恢钦l會(huì)愛上你的笑容。

20、如果你愛一個(gè)人，隨遇而安，讓他/她自由的飛，如果最后他/她還是回到你身邊，那就是命中注定的。

21、對(duì)所愛的人隱瞞任何事情，都不是我的本性。既然我的心房都已經(jīng)打開，嘴巴就不能關(guān)上。

22、沒有人值得你流淚，值得讓你這么做的人不會(huì)讓你哭泣。

23、這是我一生中最樂意做的事，這里是我最好的安息之所。

24、在世界上為他人減輕負(fù)擔(dān)，任何人都有所作為。

25、值得去贏得和被贏得是這樣一顆心：這顆心一旦贏得，可上刀山，可下火海，永遠(yuǎn)不變，無所畏懼。

26、不要著急，最好的總會(huì)在最不經(jīng)意的時(shí)候出現(xiàn)。

第三篇：雙城記中體現(xiàn)的狄更斯的矛盾

The Analysis of Dickens’ Conflict in

A Tale of Two Cities

Abstract: Charles Dickens is one of the greatest authors of England in the 19th century.A Tale of Two Cities which he claimed to be his best work as most of his other works falls on the category of critical realism.Dickens, by creating the character Madame Defarge, shows that there is some conflict between revolution and humanism.Key Words: A Tale of Two Cities, conflict, Madame Defarge

中文標(biāo)題：《雙城記》所體現(xiàn)的狄更斯內(nèi)心矛盾分析

摘 要：查爾斯·狄更斯是十九世紀(jì)英國一位偉大作家?！峨p城記》是他的一部批判現(xiàn)實(shí)主義作品。狄更斯通過對(duì)典型人物德發(fā)奇太太的塑造，反映了他的革命性與人道主義精神之間存在著一定的沖突。

關(guān)鍵詞：《雙城記》 沖突 德發(fā)奇太太

Body: Known as one of the top novelists of that age, Charles Dickens is well worth of his fame.All his life is devoted to his works and all his works are closely related to his living age.He uses his writing to expose the greed, hypocrisy and cruelty of the upper class and capitalists and to show his deep sympathy for the people toiling for a living.He is both against the oppression of the unfortunate people and the violent revolution to fight the violence back.Such standpoint is clearly shown in this novel A Tale of Two Cities.By his description of that chaotic society, we know that the ruling class is destined to come to an end.But also we can see his compassion for the moribund class.This forms the conflict in this novel.And Madame Defarge is a symbol of such a conflict.The cruelty of Madame Defarge: Madame Defarge is from her first appearance unusual.She is a complicated, frightening woman.Nobody can predict what she is capable of doing, and it seems that she can kill anyone without a blink if she wants to.However, she is also a genius revolutionist.She covers her strong desire for revenge under the deathly calmness.She, for the most part in this novel keeps silent and keeps knitting the names she wants to take revenge on into the name list.She always sits in the bar still and peacefully, but under the peacefulness, there is the attic faith for revenge.When the revolution finally breaks out, she sheds her camouflage and becomes the blood-sucking beast, leading the women to do whatever they want and try to wipe out who they hate, even the innocent wife and baby.Dickens wrote in the novel” It was nothing to her that an innocent man was to die for the sins of his forefathers;she saw, not him, but them.It was nothing to her that his wife was to be made a widow and his daughter an orphan;that was insufficient punishment, because they were her natural enemies and her prey, and as such had no right to live.To appeal to her, was made hopeless by her having no sense of pity, even for herself, If she had been laid low in the streets, in any of the many encounters in which she had been engaged, she would not have pitied herself;nor, if she had been ordered to the axe tomorrow, would she have gone to it with any softer feeling than a fierce desire to change places with the man who sent her there.” All she desires is to destroy.She is so cold blooded, and wants to kill as men.Madame Defarge has a curious power.She talks little, but nobody can ignore her presence, some even fear her.She has many followers who always listen to her order and actually no one of them dares to disobey her, not even her husband.As for Lucie, the almost perfect character in this novel, we can understand more easily why Madame Defarge can cast such a shadow in her life.Even Mr.Barsad,the spy is afraid of her.Obviously, she cast shadows in everyone’s life, and everyone can tell her difference and the evil power hidden heart.The tragedy of Madame Defarge: Though her action of revenge in the revolution verges on craziness, her hate is not born with, but is imparted to her after the endless suffering.The tragedy of her family is credited for mercy.Dickens in the novel gives a thorough description of her family background and how her family members are one by one forced to die in the successive oppression.No one after reading this part will not pity her for the unfortunate life she has

experienced, and after such persecution her strong desire to revenge seems very reasonable.Her being so cruel is closely related to her living environment.She pities no one for she has never been pitied for.Since her childhood, she sees nothing other than poverty, coldness, hunger, sickness, and all other forms of suffering.These are the social conditions which lay base for the formation of Madame Defarge’s character.In Dr.Manette’s letter, readers know that her family die under the torturing and insults of the Evrémonde brothers.And she, as the youngest of the family is sent to a fisherman for protection.Thus she has no warmth of family in her childhood.So it is imaginable she has no happiness in her childhood memory.And when she grows up, she bears the burden of revenge.All in all, she is a poor character.And Dickens thinks that her cruelty arises from the wrong done to her in her childhood.“Imbued from her childhood with a brooding sense of wrong, and an inveterate hatred of a class, opportunity had developed her into a tigress,” writes Dickens.It is reasonable to say that Dickens has great sympathy for this unfortunate woman.The contrast in Dickens’ heart: By creating the character of Madame Defarge, Dickens shows the conflicts in his own heart.On one hand, he has deep commiseration for the sufferers under the cruel reign.In the former part of the novel, Dickens gives a detailed description of the intensity of the suffering pressed upon the “rabbles.” “Cold, dirt, sickness, ignorance, and want, were the lords in waiting on the saintly presence—nobles of great power all of them;but, most especially the last.Samples of a people that had undergone a terrible grinding and regrinding in the mill, and

certainly not in the fabulous mill which ground old people young, shivered at every corner, passed in and out at every doorway, looked from every window, fluttered in every vestige of a garment that the wind shook.” That is the scene in Dickens’ eye.And for the rich, they live a luxurious life, squander wantonly and take no heed of the life of the poor.Even serving the Monseigneur his chocolate will take four people.Readers could imagine to how large the gap between the rich and the poor is.Dickens also gives a vivid description of how the baby is run over by the Monseigneur and how he shamelessly wants to buy the baby’s life out by his few coins.This proves the atrocity of the nobles and their hearts are beastlike.Under such circumstance, people cannot survive the oppression, and they have no choice but to rise up to drown their inflictors in the wave of the large enraged masses.In this part Dickens points out the necessity and possibility of the revolution.On the other hand, he is against the violence that Madame Defarge takes advantage of for her revenge.Madame Defarge is a symbol of fighting against the ruling class, but she is characterized as a woman who is blinded by the desire for vengeance, and thus comes into an ecstasy for torturing, killing and retribution.To compensate for the infliction of her early age, she spares no one and even tries to involve the innocent in.From this perspective, she is a woman that should be condemned.He writes, “There were many women at that time upon whom the time laid a dreadfully disfiguring hand;but there was not one among them more to be dreaded than this ruthless woman, now taking her way along the streets.” And he hopes that this world will not

produce such kind of people, the people that suffers and desires to makes other suffer.So at the end of the novel, as a punishment for her ruthlessness, Madame Defarge is killed by her own gun.We can see clearly that when people live in the lifeless abyss of coldness and poverty, Dickens has great sympathy for them, but when they rise up to fight the violence and injustice back, his sympathy changes to antipathy.So is with Madame Defarge, when she is left alone in the world tasting the bitterness of life and feeling no warmth of family, she is arranged to survive, but when she grows strong enough to fear nothing she needs to die.And such conflict is just the conflict in Dickens’ own heart, both pitying the poor and also against the violence in revolution.Conclusion: A Tale of Two Cities is set in the French Revolution.It gives readers a clear view of the contradictions of the society.Dickens from the point of humanism hopes that people can be delivered from sufferings, but he thinks that violent revolution is not the solution.He is against the infliction the ruling class throws on the common people, but he does not advocate overthrowing it.This inevitably shows his conflict in his heart between humanism and revolution.

第四篇：英 狄更斯 《雙城記》 的開頭名言

狄更斯在<<雙城記>>的名言是什么

這是最好的時(shí)代，也是最壞的時(shí)代；這是智慧的年代，也是愚蠢的年代；這是信仰的時(shí)期，也是懷疑的時(shí)期；這是光明的季節(jié)，也是黑暗的季節(jié)；這是希望的春天，也是失望的冬天；大伙兒面前應(yīng)有盡有，大伙兒面前一無所有；大伙兒正在直登天堂；大伙兒正在直落地獄。

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way。

第五篇：狄更斯《雙城記》經(jīng)典名言

1、家是一個(gè)名字，一個(gè)非常強(qiáng)大的字眼。它比最為強(qiáng)大的魔法中，巫師說過，神靈回答過的字眼，都更加強(qiáng)大?！腋?p>2、時(shí)之圣者也，時(shí)之兇者也。此亦蒙昧世，此亦智慧世。此亦光明時(shí)節(jié)，此亦黯淡時(shí)節(jié)。此亦篤信之年，此亦大惑之年。此亦多麗之陽春，此亦絕念之窮冬。人或萬物具備，人或一事無成。我輩其青云直上，我輩其黃泉永墜。當(dāng)時(shí)有識(shí)之士咸謂人間善惡或臻至極，亦必事有所本，勢(shì)無可綰。但居之習(xí)之可也?！腋?/p>

3、準(zhǔn)確地說，建設(shè)性和創(chuàng)造性之間的區(qū)別是這樣：建造的事物只能建好后被人所愛；而創(chuàng)造的事物尚未問世就受人喜愛?！腋?/p>

4、我愛你，不是因?yàn)槟闶且粋€(gè)怎樣的人，而是因?yàn)槲蚁矚g與你在一起時(shí)的感覺?！腋?/p>

5、這是最好的時(shí)代，也是最壞的時(shí)代；是智慧的時(shí)代，也是愚蠢的時(shí)代；是信仰的時(shí)代，也是懷疑的時(shí)代；是光明的季節(jié)，也是黑暗的季節(jié)；是充滿希望的春天，也是令人絕望的冬天；我們的前途擁有一切，我們的前途一無所有；我們正走向天堂，我們也正直下地獄?！腋?/p>

6、不要著急，最好的總會(huì)在最不經(jīng)意的時(shí)候出現(xiàn)?！腋?/p>

7、對(duì)所愛的人隱瞞任何事情，都不是我的本性。既然我的心房都已經(jīng)打開，嘴巴就不能關(guān)上?！腋?/p>

8、在別人身上浪費(fèi)一日，并非在自己身上浪費(fèi)一天。——狄更斯

9、世界有陰影，但亮光在對(duì)比下顯得更強(qiáng)?！腋?/p>

10、不要為那些不愿在你身上花費(fèi)時(shí)間的人而浪費(fèi)你的時(shí)間?！腋?/p>

11、要有一顆永不變硬的心，一付永不厭倦的脾氣，以及一種永不受損的風(fēng)格?！腋?/p>

12、沒有人值得你流淚，值得讓你這么做的人不會(huì)讓你哭泣?！腋?/p>

13、在遇到夢(mèng)中人之前，上天也許會(huì)安排我們先遇到別的人；在我們終于遇見心儀的人時(shí)，便應(yīng)當(dāng)心存感激。——狄更斯

14、值得去贏得和被贏得是這樣一顆心：這顆心一旦贏得，可上刀山，可下火海，永遠(yuǎn)不變，無所畏懼?！腋?/p>

15、內(nèi)心有心弦，但最好不要顫動(dòng)?！腋?/p>

16、分離許許多多的結(jié)合，就構(gòu)成了生活?！腋?/p>

17、愛你的人如果沒有按你所希望的方式來愛你，那并不代表他們沒有全心全意地愛你?！腋?/p>

18、失去某人，最糟糕的莫過于，他近在身旁，卻猶如遠(yuǎn)在天邊?！腋?/p>

19、不要因?yàn)榻Y(jié)束而哭泣，微笑吧，為你的曾經(jīng)擁有?！腋?/p>

20、在世界上為他人減輕負(fù)擔(dān)，任何人都有所作為?！腋?/p>

21、縱然傷心，也不要愁眉不展，因?yàn)槟悴恢钦l會(huì)愛上你的笑容?！腋?/p>

22、不要著急，最好的總會(huì)在最不經(jīng)意的時(shí)候出現(xiàn)。縱使傷心，也不要愁眉不展，因?yàn)槟悴恢勒l會(huì)愛上你的笑容。對(duì)于世界而言，你是一個(gè)人，而對(duì)于某個(gè)人，你是他的整個(gè)世界。——狄更斯

23、這是我一生中最樂意做的事，這里是我最好的安息之所。——狄更斯

24、對(duì)于世界而言，你是一個(gè)人；但是對(duì)于某個(gè)人，你是他的整個(gè)世界?！腋?/p>

25、有些書，其封底和封面是最為精華之部分?！腋?/p>