信仰爱情范文

信仰爱情篇1

“因为相爱而、因为相爱而结婚”，这个人们坚守了两百多年的美好理念，正遭受着前所未有的挑战。以往习惯于或只能从婚姻中得到的东西，人们现在却越来越便捷地从婚姻之外得到，并对此变化习以为常。然而拨开表面这层令人沮丧的迷雾，我们仍然可以看到数字让人心暖的一面：去法院诉讼离婚的占比下降了；超过六成的离婚由女方主动提出；离婚的人群中，没有孩子的年轻夫妻和子女已成年的银发族占比越来越高。这三组表面看似不关联的数据，其实都有着同一个指向：人们的文明程度越来越高，并对生活品质有着越来越高的要求。无须借助公权，人们可以通过协商处理自己的生活。而对于不美满的婚姻，人们的忍耐程度越来越低。

大家对婚姻品质要求的普遍提高，也必然带来了对婚姻的全新思考和理解。人们开始懂得，要求以爱情为基础的婚姻同时具有传统婚姻那样的稳定性是完全不现实和不可理喻的。因为爱情就像化学反应，它的本质和得以维持的根基，就是性质的不稳定。

婚姻变得越来越自我。这句话有着两层涵义：一是一桩婚姻是夫妻两人的事情，与他人无关；二是，夫妻两个当事人也变得越来越注重自身的感受，而不愿意仅仅为了维系婚姻关系这一“主体间性”而牺牲太多的“主体性”。人们越来越重视婚姻中个体的感受、越来越尊重婚姻中个体追求个人幸福的权利。当这一点成为普遍共识之后，离异妇女便不再被当作游戏的输家而遭受歧视了。随之而来的，还有对与婚姻有关的策略的多元化的理解与尊重。比如，除了离婚，人们对通奸和嫖妓也越来越宽容――既然对于没有爱情的婚姻越来越不能忍受，那么，对于没有婚姻的爱情就不得不持更开放的态度。这是个很现实也很无奈的结果。

当然，这会产生道德上的困惑和负担。快乐和愧疚，如影随形。新时代的核心问题在于：因为选择的丰富和便捷，行动走到了观念的前面。人们做出这样那样的抉择，但无论怎样做，都无法逃脱良心拖在身后的折磨。这种折磨，并不仅限于婚姻内的夫妻。它同时存在于婚外和婚前的男女交往之中。比如，法国社会学家通过计算得出结论：城里人一生中择偶的范围，大概在2300人左右。而在乡村熟人社会中生活的人，这个范围则会小很多。互联网的普及，并没有明显扩大这个择偶的人数规模。但是，它大大增加了与陌生人交往的随机性和活跃程度。随之而来的一系列问题，比如说：与只知道网名的陌生人，你觉得是道德堕落吗？仅以性厌倦为由提出分手，你会内疚吗？只以单纯的感官享乐为目的的，是可接受的吗？如果你知道你的情人还有别的，你会不适吗？如果你的婚姻已经进入无性阶段，出于人道的原因，你会允许甚至鼓励你的配偶去找情人吗？

所有的这些问题，都不是道德崩溃或沦落的结果，而是在人们采用新的方式彼此抟结和交往的前提下，道德的重审、重建和重塑。在人类任何包括两个个体及以上的场合和活动中，“已所不欲，勿施与人”的道德金律从未离场，也不会缺席。因为，虽然我们的行为在变、观念在变，但我们始终拒绝放弃对高品质精神生活的追求。在可预见的未来，我们人类仍然渴望爱情，信仰爱情。

四次单身浪潮

上世纪50年代1950年5月中国第一部《婚姻法》颁布，随之而来的是搏击全国的离婚潮。

上世纪己70年代末

“知情返乡”等社会事件造成离婚率的猛增。

上世纪90年代（前后

追求自由、快乐的思潮，尤其80年《婚姻法》修改后，“感情破裂”成为离婚的合适理由。

如今

信仰爱情篇2

[key words] women; love; faith; voice; the thorn birds

【摘 要】 本文通过对长篇小说《荆棘鸟》的分析，分别描述了以克利里家族为中心的女性与男性不同的爱情价值观,体现了女性视爱情为终生信仰，而男性却常常选择非爱情的信仰，从而衬托出女主人公梅吉对爱情执着的高贵情操。梅吉始终忠诚于她的爱情，甘愿像荆棘鸟那样成为信仰的献祭，谱写了一曲凄婉动人而又崇高、悲壮的爱情主旋律。本文从《荆棘鸟》追溯到其西方女性信仰的源头，通过分析早期西方杰出女作家主要作品中女主人公追寻荆棘的历程，展示了西方女性对爱情的信仰，同时更加突出了梅吉集勇气、高洁、坚强、博爱于一身的完美形象。但是，纵然梅吉为了爱而奉献一生，纵然西方女性为了爱而殚精竭虑，她们最终得到的总是悲剧性的爱情结局；即使最终能够如愿以偿，可在追寻的过程中也付出了沉重的代价。从中揭示了一个道理：即使女性对信仰的呼喊动听而绝美，她们的声音始终是微弱的：她们改变不了男性的爱情观，也战胜不了社会的传统观念。她们得到了短暂的幸福，却承受了一生的痛苦。这不仅仅是梅吉和西方女性的悲剧，也是从古到今全人类女性所无法阻挡的悲剧。但是不管怎样，梅吉她们这种崇高的信仰让她们作为女性的一生熠熠生辉，就像荆棘鸟的歌声永远震撼人心。

【关键词】女性；爱情；信仰；呼喊；《荆棘鸟》

1. introduction

there is a saying that literature somehow aims at studying human, which gives a faithful representation of the life and the thought of mankind. what’s more, each works of literature has its own theme，emblem and fascination, which brings the readers endless aftertaste and consideration, including the the thorn birds, written by colleen mccullough. the enchantment of this book first lies in its subject─love and destiny, and its symbol—the thorn bird.

there is a legend about a bird, which sings just once in its life, more sweetly than any other creature on the earth.

“from the moment it leaves the nest it searches for a thorn tree, and does not rest until it has found one. then singing among the savage branches, it impales itself upon the longest, sharpest spine. and, dying, it rises above its own agony to out-carol the lark and the nightingale. one superlative song, existence the price. but the whole world stills to listen, and god in his heaven smiles. for the best is only bought at the cost of great pain….”[1]

the bird, called the thorn bird, follows an immutable law, namely love, filled with solemn and stirring voice.

the book tells readers a story, beginning in 1915 and ending more than half a century later, “of a singular family, the clearys, who leave new zealand to live on vast australian sheep station, where their triumphs and tragedies are interwoven with the wonder and terror of a land ravaged by cycles of drought, fire and torrential flood. but most of all, it is the story of meggie, who falls madly in love with a man she can never marry, and of ralph, a truly beautiful man, whose ambition takes him from outback parish priest to the inner circles of the vatican—but whose love for meggie cleary will lead to a passion he cannot control.”[2]

it is considered that the writer, colleen mccullough, condenses every aspect of life into a brilliant book. by describing the clearys’ frustrations of emotional experiences, she tries to show a truth that it’s necessary to pay an unimaginable cost for the true love and any other magnificent things. undoubtedly, in the story, meggie is the most conspicuous thorn bird, whose longest, sharpest spine is ralph. no matter how difficult and mournful the experience is, and how slim the hope is, she never gives up her faith—being loyal to love and making her love significant. she knows she has chosen a tortuous road, but she would rather devote all her effort to searching for her thorn tree—ralph, and having her faith glitter.

2. women’s faith in love in the thorn birds

“if love is the everlasting theme of literature, then female is also an unfailing topic, for love story can’t lie in the world without women.”[3] the thorn birds tells a penetrative love story between meggie and ralph. it also shows the particular love story about the clearys’ three female generations, from which the writer portrays four characteristic women who are brave to fight against their fate and social custom for their faith.

2.1 meggie’s love story

the story begins with the day of meggie’s four-year birthday, on which she receives an unexpected present─a pretty doll, from her mother. she, born poor, is an attractive and lovely girl with vivid hair, but she also has a strong personality. when her dear doll is spoilt by her elder brothers, it does not occur to her to seek help; when she is strictly but unequally punished by sister agatha in the school, she does not surrender; when her dear brother frank leaves her, she doesn’t weep, for “something in her little soul was old enough and woman enough to feel the irresistible, stinging joy of being needed”[4]. her self-control is phenomenal and her pride formidable. besides, she is a quaint mixture of ignorance and morality. she is worth more, but she is not born to be more. nobody knows what will happen to her, what kind of life she will have, and what sort of fate she will encounter.

when she is nine years old, she moves to the vast australian sheep station─drogheda from new zealand with her family, which really changes her fate and brings her a new life. the first time ralph meets her, she begins to tug at his nonexistent heart, though she is only nine years old while he is already twenty-eight years old. maybe at the beginning, meggie just views him as a cherished elder brother, for he is glad to do everything that her mother, her father and her brothers can’t do for her, and she depends on him so much. as she grows up, her adoration of father ralph has turned into an ardent, very girlish crush. but after mary’s death, he chooses to obey mary’s arrangement to realize his dream and give up meggie by marrying to the church. she knows it is forbidden to have a priest as husband or lover, and ralph can’t love her as a husband and will never abandon his job as a priest, but she still dreams of him, yearns for him and wants him. however, besides love, she thinks she also needs a husband and babies, and she considers that though she means little to ralph, there is still some man who loves her before all else. she believes that not all men love some inanimate thing more than they can love a woman. therefore, she marries luke, mostly because luke looks like ralph so much, which can remind her of ralph, and will give her children similar in type to those she may have had with ralph. but she does not love luke at all, and she is not able to fall in love with him, as she never weakens her deep love for ralph. because of the celibacy of priests, she has to go away from ralph, make her home and her life with another man, and have someone else’s baby. so she becomes to hate the church’s implication that her loving ralph or his loving her is wrong. what is worse, to her disappointment, luke does not need her, either. he never respects her feelings. however, after having the daughter of luke─justine, she wants to give her daughter a real family. assuming that the love to ralph can’t occur, she will have to love her children, and the love she receives will have to come from those children, so she tries forgetting ralph and persuading herself that ralph is the past.

but when she decides not to waste time dreaming of the man and children she can never have, ralph comes to find her on matlock island, which kindles her hope again, and makes her decide to challenge god for her faith. she can never have ralph, but there she does get the part of ralph the church can never have─she has ralph’s son dane, who is as perfect as ralph. then she chooses to leave luke to go back to drogheda, in order to guard her son. she thinks that she has beaten god. but to her sadness, she has to admit that there is never a woman born who can beat god. that day when dane tells her that he is going to be a priest, which is as if her death sentence, she has to compromise, crying to her son,

“ ‘to the church thou belongest, to the church thou shalt be given. oh, it’s beautiful, beautiful. god rot god, i say! god the sod! the utmost enemy of women, that’s what god is! everything we seek to do, he seeks to undo!’ ”[5]

she sends her son to ralph, but she doesn’t tell him that dane is his son until dane’s death. as anne, meggie’s good friend and former master, worries, the gods have not done with her yet. after he is ordained without her mother’s presence in rome, dane decides to come down to the peloponnese, getting up his courage to meet his mother. yet before seeing his mother for the last time, he is drowned in crete, rescuing some women from the sea. meggie does her best to love ralph’s son with the purity of the blessed mother herself, but she doesn’t realize that “the object of her love was struck down in the very fullness of his flower”[6]. after dane’s funeral, ralph consequently dies in her arms. they steal what he has vowed to god, and they have to pay, which is a fatal attack to meggie. she suffers so much, and it seems that she fails and is unhappy, yet she is really a great and successful woman. in her eyes, the tragedies are a comfort, once the pain dies down, “i did it all to myself, i have no one else to blame. and i cannot regret one single moment of it.” [7] she knows what she wants and tries her best to pursue it, in spite of high expense, and her inimitable voice is so plaintive and sacred.

2.2 the love stories about the other women in the thorn birds

mary is meggie’s aunt. she takes possession of a large amount of property and lives in drogheda, a great pasture. she has been a widow for so many years, but she refuses to marry again. “not mary carson’s idea of living, to play second fiddle. so she had abjured the flesh, preferring to wield power”[8]. she was not born into money or is not so charming, but besides her genius, the great effort makes her lead a superior life. when she meets ralph, she has already been an old woman, but she crazily falls in love with him, who has remarkable appearance and uncommon intelligence. on her deathbed, she asserts her true feeling to ralph,

“ ‘i have loved you. god, how much! do you think my years automatically preclude it? well, father de bricassart, let me tell you something. inside this stupid body i’m still young─i still feel, i still want, i still dream, i still kick up my heels and chafe at restrictions like my body. old age is the bitterest vengeance our vengeful god inflicts upon us.’ ”[9]

she believes that there are no bounds of age in love, but she is clear that ralph is not likely to love her, who knows that only meggie is his lover. as a result, she becomes to hate her old age and envy meggie. moreover, she can’t bear ralph and meggie to get together, and she also cannot stand others possessing the things she hungers for but could not gain. she has said to ralph,

“ ‘i’ll be like the devil, and offer you─enough said! but never doubt i’ll make you writhe. you’re the most fascinating man i’ve ever met. you throw your beauty in our teeth, contemptuous of our foolishness. but i’ll make you sell yourself like any painted whore.’ ”[10]

therefore, she chooses to retaliate by separating ralph from meggie. the reprisal works after her death, but it really changes the fate of ralph and meggie. she knows ralph very well, and she is sure that if the church inherits her abundant legacy, ralph will quit meggie to be the bishop of catholicism, who can never marry. in the letter given to him, she says,

“ ‘ralph, i love you, so much i would have killed you for not wanting me, except that this is a far better form of reprisal. i’m not the noble kind; i love you but i want you to scream in agony. because, you see, i know what your decision will be. i know it as surely as if i could be there, watching. you’ll scream, ralph, you’ll know what agony is.’ ”[11]

if she never knows how to do anything else, she actually knows how to make the ones she loves suffer. just as the sayings go, if you love him, send him to new york, because it is a heaven; if you hate him, send him to new york, because it is a hell. mary does so and she succeeds finally. ralph accepts mary’s will which makes his dream come true, so he reaches the heaven; ralph betrays meggie in order to get the money, which means that there will be an everlasting gulf between them from then on, so he arrives in the hell. if mary is a thorn bird, ralph is her sharp spine. however, because of the interlacement of love and hate, she chooses to destroy him.

fiona, meggie’s mother, was born in armstrongs, a passport to colonial aristocracy. she is a very handsome, very fair woman a little under medium height, but rather hard-faced and stern. “she was a silent woman, not given to spontaneous conversation. what she thought, no one ever knew, even her husband”[12]. she is a hardworking housewife, but who can imagine that she used to be well-bred girl from an honorable family, and marries the poor hired herdsman─paddy. it goes without saying that she has contracted a shocking mesalliance. what is worse, she doesn’t love paddy, but she deeply loves another handsome married man, named pakeha, with whom she has the son frank. fiona thinks the man is everything paddy isn’t─cultured, sophisticated, very charming. she loves him to the point of madness, and she thinks she will never love anyone else. however, he is impossible to marry her, though they have a son, so she is forced to marry paddy by her family. it is a legal marriage but without love. although paddy loves her so much and tries his best to make her happy, she never feels happy, and she always keeps silent, which means she never belongs to paddy until his death. among the family members, she only loves frank, or loves frank more than the rest of others put together, because she loves his father. in the family, frank is her only spiritual mainstay, but he cannot get along with paddy well. when frank manages to drop away from home after the furious quarrel with paddy,

“there had not been a flick of emotion in those soft grey eyes, not hardening nor accusation, hate or sorrow. as if she had simply been waiting for the blow to fall like a condemned dog for the killing bullet, knowing her fate and powerless to avoid it.”[13]

she keeps herself folded up with quietness, and a total undemonstrativeness. in fact, fiona has led an impassible life since she left frank’s father and lost her love. when she loses frank, it means that she loses all her hope.

“if the days were long and bitter with a sense of failure, she must bear it in silence…. she was one of those people whose feelings were so intense they became unbearable, unlivable, and her lesson had been a harsh one. for almost twenty-five years she had been crushing emotion out of existence, and she was convinced that in the end persistence would succeed.”[14]

therefore, there is no doubt that frank’s father is her longest spine, for her life loses colors without him. the love between her and him is so transient, yet she puts in all her life for it. she knows that paddy hasn’t been the man of her choice, but a better man than paddy never lives. the moment she hears that paddy died unexpectedly in the fire, she suddenly senses that she loves him, like all of her life. but it is too late for him, and too late for her, as she has wallowed in the former delusion so long and leaves it too late. finally, she chooses to get herself under that iron control once more, as if she is determined to elongate her periods of darkness until the light shires no more in her lifetime. she is really a very unhappy woman who cannot live with the man she loves, and loses the man who loves her. but on the other hand, she is somewhat lucky, for she has loved someone, and been loved by someone.

when meggie gives birth to justine, she has gone through death and life, which implies that justine will be out of the ordinary, will never be meggie’s , luke’s or anyone else’s, and will always belong to herself. compared with her mother and her grandmother, justine lives in a new age, and is more enlightened than them. what’s more, she has her own life style that she will not like to have changed by others, which usually cannot be understood by her family. in drogheda, dane gets far more emotion from the family, especially their mother than justine, who thinks she will never love anyone and need other’s love. but actually she longs for love in her heart of hearts, and the reason she pretends to be indifferent to love is that she is terrified of committing herself to the kind of love which marriage will entail. she only chooses to stand on the stage to make her full emotions release. however, because of her younger brother dane’s death, she plunges into a helplessness and distress, which urges her to recognize herself again and to reflect how to treat her life again. finally, she becomes brave to confront and accept her love and her lover rainer. although her final is not a tragedy as her mother’s, her experience of searching for love also shows that the best is only bought at the cost of great pain.

2.3 meggie’s noble faith

in the story about the thorn birds, women do not want to submit themselves to men’s authority and old customs. they do their utmost to strive for their faith. as the thorn birds, their faith is love; as the thorn birds which sing just once in their life, these women love only once in their life. they will not like to change their faith and they appeal to men for understanding and valuing their love. no matter how difficult and painful the experiences will be, they do not care at all. they also believe that the real happiness comes after the extremely suffering experiences. they have the same faith, and love occupies their dream for all their life, but they treat their faith with different attitudes and pursue their love with different behaviors. meggie does not ruin her faithful lover that she cannot get as mary does; she does not just keep waiting for her hopeless lover as her mother fiona does; she is not too timid to accept her lover as her daughter justine is. therefore, mary’s love is selfish, for she kills her lover’s love ruthlessly; fiona’s love is passive, for she just lives in the past, leading a hopeless and lonely life; justine’s love is fainthearted, for she cannot be brave enough to bear the expectation of love. but meggie pursues her faith indefatigably and sublimates her love to the utmost. her happiness is based on her anguish. the more sorrowful she is, the happier she will feel. actually, meggie’s pursuit of love is the strongest, and her voice is the most moving and tragic.

2.4 meggie’s influence on the other women in the thorn birds

as a member of the clearys, meggie actually affects the other three women unconsciously in her family. when ralph introduces meggie to her, mary instantaneously discerns that ralph is infatuated with meggie, which is intolerable to her. she senses that she must lose ralph to meggie, but she wants to make sure that meggie doesn’t get ralph, either. so she decides to change her former will, of which paddy is the beneficiary. it’s meggie that makes her change her lover’s fate. meggie is the only girl of fiona, but fiona does not envy her or pity her. she thinks that a daughter is just a reminder of the pain and she tries to forget that she has a daughter. however, with little maternal love, meggie always spreads her angelical love to others. she loves her family, loves her brothers, loves her children, loves her friends, and loves ralph. what she has done really makes fiona change her former attitude to meggie. her manner toward meggie becomes tempered with respect and affection. in some way, she admires and adores her daughter for meggie’s humanities and noble faith. as meggie’s daughter, justine has a quite different personality from her mother. it’s difficult for her to accept her mother’s philosophy. when her mother advises her to marry,

“justine looked scornful. ‘not bloody likely! spend my life wiping snotty noses and cacky bums? salaaming to some man not half my equal even though he thinks he’s better? ho ho ho, not me!’ ”[15]

however, meggie understands what her daughter really longs for in her inner world. though she needs justine after dane’s death, she cares justine’s happiness more, so she tries her best to persuade justine to accept rainer’s love. it is meggie that brings justine a happy life. meggie leads mary to change her mind, makes fiona change her notion, and has justine envisage her actuality bravely.

2.5 the faint voice of meggie

just as what it says at the end of the novel, “at the very instant the thorn enters there is no awareness in it of the dying to come; it simply sings and sings until there is not the life left to utter another note. but we, when we put the thorns in our breasts, we know. we understand. and still we do it. still we do it.”[16] meggie creates her own thorn, never stops to count the cost. all she can do is to suffer the pain, and to tell herself that it is well worth it. however, she does not sense that her voice is not only beautiful but also faint, so do the writer and the readers. living in the traditional society, dominated by men, meggie is still unable to persuade the society to attach great importance to her faith, and it is impossible for her to make the society accept her faith. she has challenged god, but she fails, and if she challenges the traditional society, there is no doubt that she will be beaten, too. because her voice for love is too faint to overstep men’s authority, and too faint to change the custom of the society, as her aunt and her mother, meggie’s love tragedy is also unavoidable, no matter how much hardship she suffers and how great efforts she makes. moreover, the more perseveringly she strives for perfection of faith, the more sorrow she will suffer. meggie’s peak of poetic perfection shakes up many other women a lot, but to arouse the society’s reverence for female’s faith is still beyond her power. though she does her utmost to raise her voice, it’s still too faint. 3. men’s faith in the thorn birds

either in reality or in literature, there are always countless tragedies about love between men and women. it’s natural for most women to equate love with their valuable life wholeheartedly, while it seems so difficult for men, who welcome love, but can’t value love as the most important and essential thing in their life. they think that the need of women is a kind of weakness, and they often choose anything but love at a critical moment, which the novel also proves so comprehensively.

3.1 ralph’s faith

no matter who meet ralph for the first time, they will never forget his beauty.

“the height and perfect proportions of his body, the fine aristocratic features, the way every physical element had been put together with a degree of care about the appearance of the finished product god lavished on few of his creations. from the loose black curls of his head and the startling blue of his eyes to the small, slender hands and feet, he was perfect. ”[17]

but there is an aloofness about him, which makes him never be enslaved by his beauty, nor ever will be. besides, he has barded and subtle mind, outstanding political consciousness and remarkable diplomatic talent. he is brought up from his cradle to be a priest, and he is filled with god. he is sure that no earthly things come between him and his state of mind—not love of a woman, nor love of money. he accepts chastity without finding it difficult to maintain. truly he will make a magnificent cardinal before meeting meggie.

however, when little meggie looks up at him with silver-grey eyes of such a lambent purity, like melted jewels, he cannot help falling in love with her at first sight, which becomes to waver in his former determination, vowing to give his life to god. meggie has moved him unbearably, and he doesn’t really know why. he views her as a perfect female, having the gift of acceptance. he has to admit that meggie fills an empty space in his life, which his god cannot. therefore, he becomes to battle with his own thoughts. he starts to be puzzled by the confrontation between his divinity and his humanity; he begins to be afflicted with the dispute between his demand for love and his lust for power. however, he just tries his best to deceive himself that meggie is only the rose of his life, and only an idea, but not a lover. finally, he accepts mary’s will, which relates to the fate of his life and his soul. between god and meggie, he chooses the former; between authority and love, he chooses the former. though he still loves meggie so much, he chooses to forsake her, selling her for thirteen million pieces of silver. before saying goodbye, he suggests meggie search for another man as her husband and love her children, but he is clear that it’s his punishment. the pain of love does not fade, and it seems to grow worse, which makes him unable to be fully pious to god. when he hears that meggie has married luke, he is upset, spitting mad. he decides to go to matlock island to see her.

there he becomes to realize that he is a man, can never be god, and he is made for meggie. he breaks his vows. he will miss meggie as long as he lives, but he still will not leave his church, for he belongs to the church all along. he really suffers a lot, because of his conflictive mentality. when meggie has his son—dane, she does not tell him the truth. he considers that she gives birth to a great son for luke, which makes him so envious. as dane is determined to be a priest, meggie has to send him to ralph. in the letter, she says to ralph, “ ‘i charge you with his well-being, his happiness. what i stole, i give back. it is demanded of me.’ ”[18] but he still doesn’t know dane is his son until dane’s accidental death, which wears him down thoroughly.

at last, he comes to realize that he is wrong, “pride, ambition, a certain unscrupulousness. and love for meggie flowering among them. but the crowing glory of that love he had never known.”[19] meggie is the mirror in which he is forced to view his mortality, but he never pays attention to it until he dies. only in death will he find the peace he cannot find here in this life. he hurts meggie profoundly and loses his excellent son. he loves meggie deeply, but he can’t treat love as his faith as meggie does. he cares god more. so he creates an extreme tragedy for meggie and himself.

3.2 the other men’s faith in the thorn birds

when he falls in love with fiona, pakeha has been married already, and he has been an important politician. though fiona loves him deeply and so does him, “divorce was out of the question for him. he was one of the first people of his race to attain political greatness”[20]. he has to choose between his people and fiona. the same as ralph, he chooses the former, which really stifles fiona’s faith and deprives her of her zeal for life.

meggie has eight brothers, two of whom dies young, but none of the ones left alive seem to have any intention of ever getting married. they treat their mother with a tender, absorbed care no amount of indifference on her part can banish. but they are frightened of the power a woman might have over them. they would rather devote all their silent love to the fertile land—drogheda. “the land brings them men’s self-confidence and dignity; the land compensate them for the lack of mother’s love; the land gives them rich nourishment of life.”[21] they love the land deeply, which weakens their intention of marriage.

luke is infatuated with money beyond any other thing, including love, and he thinks he does not need women at all. at heart he loves hard cash far more than what it may eventually buy him. the reason he leaves no stone unturned in his effort to marry meggie is that he feels like getting her property. as meggie evaluates him before she leaves,

“ ‘you haven’t any intention of spending it, have you? you want to adore it, like a golden calf. admit it, luke, you’re a miser. and what an unforgivable idiot you are into the bargain! to treat your wife and daughter the way you wouldn’t dream of treating a pair of dogs, to ignore their existences, let alone their needs!’ ”[22]

because of his faith for money, meggie is only a transient figure in his mind, let alone love.

how can a man resist a chance like that to be noble? just as ralph chooses the church, pakeha chooses his people. meggie and her mother think they don’t care. they will take what they can get of the men. they will have their children to love at least. however, if they can’t keep their lovers, how can they keep their sons? that is just what god cannot allow, so both of them lose their sons at last. generally speaking, to most men, if they have to make a choice between two important things, one of which is love, love usually comes a very bad second, while women always choose love as their faith throughout their life.

3.3 the voice between meggie and ralph

ralph has thought that meggie would not be a rebel, and all her life she would obey, moving within the boundaries of her female fate. but on the contrary, she would rather be a rebel to shoot for her love, and to be loyal to her faith. and she does so, going forward in spite of its loads, its grieves, its pain. however, she still can’t convince ralph to marry her; her voice for love still can’t cover ralph’s voice for religious authority. ralph really loves meggie, but living in the environment full of men’s power, love is impossible to be his first choice. in his mind, religious authority is more important than love, though he is unlikely to be happy by giving up love. he can’t forget meggie and can’t forget his love. he does it even as he knows he does wrong. not that his awareness of the evil in him stops him for a second; only that he pays for his material advancement in pain and self-torment. no matter how mixed his feeling is, he will never think that to accept meggie’s love is worth a try. in some way, meggie faint voice can’t have ralph awake to the importance of love, let alone the society. naturally, women’s voice is incapable of surmounting men’s. so love tragedies often come to women, including meggie, for their faint voice can hardly change anything.

4. tracing back to western women’s faith

as many other countries, before the campaign of women’s right in 1830s, the history of western countries were always ruled by men, whose concepts and authority absolutely dominated the society and the people of the time, so did the history in the western countries. in english language, great and marvelous works, especially novels, always emerged in an endless stream. however, almost all works were written by men, and they did describe some heroines in their works. but in english female writer virginia woolf’s opinion, “most of them virtually knew little about women, creating their heroines just with men’s views and imagination, and few of them paid attention to what the women really needed and wanted.”[23] then more and more great female writers began to emerge in england during the second half of the 18th century, and most of them chose to write distinguished novels to express women’s true feelings, which meant the independent feminism was emerging on the horizon. they placed all their hopes on their heroines, who were filled with the writers’ senses and desires. “but some gifted women of the 19th century made such contributions to the development of the english novels that they have justifiably won their places in the front ranks of the brilliant realists”[24]. yet what was more significant was that the women novelists had their heroines call for equal rights with men and men’s respect to women and women’s belief. they made men conscious of women’s existence and changed their former attitudes to women; they made other women overcome the difficulties and hold firmly to their faith. these remarkable women novelists include jane austen, the bronte sisters, and george eliot.

in jane austen’s pride and prejudice, elizabeth, the key heroine of the novel, is born in a common middle class without plentiful dowry, which is difficult for her to marry a gentleman. however, her easy, unaffected personality and lively talents make the noble gentleman—darcy fall in love with her soon. but because of darcy’s pride, her self-esteem cannot allow her to accept his proposal. she senses that “his sense of her inferiority—of its being a degradation—of the family obstacles which judgment had always opposed to inclination, were dwelt on with a warmth which seemed due to the consequence he was wounding, but was very unlikely to recommend his suit.”[25] the lesson she teaches darcy shows that the true love shall not be profaned by any additional requirements. but once she finds her wishful love, nothing can threaten her to give it up, in spite of the pressure of social decorum, nay and interest. when darcy’s aunt tries to persuade elizabeth not to marry him, she does not defer and says,

“ ‘i am only resolved to act in that manner, which will, in my own opinion, constitute my happiness, without reference to you, or to any person so wholly unconnected with me.’ ”[26]

at last, after suffering pain from her love, she gains her own happiness with her wisdom, courage and unswervingly loyal faith.

charlotte bronte’s jane eyre tells about an orphan girl—jane eyre, whose firm and rebellious personality help her bear the difficult and miserable conditions. “though ordinary-looking and poor she is, she makes light of dignitary, insisted on seeking equal rights with men, and was rich in her mental world, which made rochester love her crazily.” [27] but no matter how much she loves rochester, she never gives up her female dignity, in spite of her low economic status. she does not allow her love to be sullied by any immorality or impurity. “when she finds rochester really has already got a live lawful wife that is mad, she becomes shocked, despondent and sad”[28], saying,

“ ‘mr. rochester, i no more assign this fate to you than i grasp at it for myself. we were born to strive and endure—you as well as i: do so. you will forget me before i forget you.’ ”[29]

her noble principle cannot permit her to be his ladylove, so she would rather choose to part with rochester despite her unwillingness. she believes that only love can repay love, and she thinks that if a woman really loves a man, she will be ready to sacrifice everything for him, including life. when she hears that rochester loses his manor, fortune and his sight during the fire accident set by his mad wife who dies a tragic death, she realizes he needs her and she returns to him at his side, becoming his wife. after all, she never changes her will and never gives up her love.

in emily bronte’s wuthering heights, catharine has wild, gypsy, blood in her and that side of her personality loves to run through the heather with her prince, heathcliff. however, “the more civilized half of catharine desires fine dresses and respectable station in society, all things which only edgar linton can provide.”[30] she has said to her maid servant—nelly about her true feeling as followed,

“ ‘it would degrade me to marry heathcliff, now; so he shall never know how i love him; and that, not because he’s handsome, nelly, but because he’s more myself than i am. whatever our souls are made of, his and mine are the same, and linton’s is as different as a moonbeam from lightning, or frost from fire.’ ”[31]

she thinks if she marries heathcliff, they will be beggars, while if she marries linton, she can aid heathcliff to rise, and place him out of her brother’s power. therefore, she chooses to marry linton, but such a collision of love and desire is ripe territory for the seeds of tragedy. catharine and heathcliff destroy each other while remaining deeply in love. it is a measure of catharine’s stoicism that she refuses to budge even under those conditions, pretending that she actually loves edgar. however, with emotional wounds such as those, kept forever raw by constant needling, she falls ill and dies young at last. catharine lives for love, and dies for love. her tragedy also shows that marriage will be unfortunate and unhappy without love, and a full human life in a capitalist society is impossible of attainment, for the pure love of catharine and heathcliff has been crushed by the class prejudice of the bourgeoisie.

george eliot is a great important spokesman of women in england. in her novel the mill on the floss, the heroine, maggie, whose noble aspirations run counter to the philistine narrow-mindedness of those surrounding her, is lively, clever, kind and full of fantasy. “after the loss of her family’s property, maggie has to drop out of school, learning to inhibit all her former passions and dreams, which actually tormented her all the time.”[32] with the help of philip, she can enjoy books and music again, and she makes a deep impression on beautiful world and colorful life. rather than saying that philip is her lover, it would be better that he is her teacher and good friend in her poor and miserable situation. but, one day, while visiting her cousin lucy, maggie meets stephen, a young suitor of lucy, and they are attracted by each other’s beauty. “stephen offers to marry her, but she turns him down on the ground that she cannot achieve her own happiness by sacrificing others.”[33] she could not ignore the public opinion and abandon the social morality, but she hurts herself deeply. “ ‘i will bear it, and bear it till death….’ ”[34] she forsakes her pursuit for love, so maybe death is her best way out. the tragic doom of maggie virtually shows the irreconcilability of a gifted and noble-minded personality of women with bourgeois reality, and what’s more, it also shows that women also cannot be allowed to love the persons they love because of outside pressures and social restrictions. maggie longs for love, but she has to give up love finally.

in the western society, the female’s voice for equal rights and permanent faith did not only echo in europe, but also in america, the opposite shore of pacific at the end of 19th century. the women’s appeal to men for valuing women’s roles in society was more intensive in america. to play an important role in literary field was also one of women’s goals to make their voice regarded. in such kind of environment, in 1936 margaret mitchell produced her masterpiece gone with the wind, which makes the flag of feminism flutter freer and easier. the heroine scarlet, a southern belle “is well disciplined by her mother, but her blazing green eyes always betrays her covert capricious self”[35] . scarlet longs for the noble ashley’s love, and dreams of marrying him. however, ashley can’t marry her, though he actually loves her. in the southern america at that time, men always admire the women who are gentle and demure; they think women should be weak and rely on men all the time. so they regard the good wife and loving mother as an angel. on the contrary, men cannot tolerate women’s outstanding thoughts, keen insight and independent economic position. they treat such kind of women as devils. but scarlet really belongs to the second kind of women whose behaviors always infringe the feudal ethical code. therefore, it’s impossible for ashley, filled with the old ethics to marry scarlet. he would rather marry an angel whom he doesn’t love deeply. only can rhett butler, representing the new northern social customs, accept scarlet’s bold ambitions. yet it’s too late for her to realize it. she always keeps abandoning herself to her love for ashley. so her love is doomed to be a tragedy.

as western women novelists, they wanted women’s voice for true love known and respected by men. however, because of the limitations of eras and social background, there were still some deficiencies about their heroines. because women were not able to be independent on economy and social position, their marriages should be based on men’s abundant property, so they would like their love to come with money. what’s more, because of the prejudice against darcy, elizabeth once becomes well disposed towards hypocritical wickham; because of rochester’s misfortune and abjection, jane eyre returns to him and gets her love finally; because of her vanity, catharine chooses to marry linton, but not her true lover; because of her strong sense of responsibility, maggie decides to give up stephen’s love; because of her ultra personality, scarlet can’t get her longing love. those heroines just make their faint voice heard within limited social bounds. therefore, compared with them, colleen mccullough’s heroine meggie stands head and shoulders above them, as she loves ralph without the consideration of his economic condition and social culture. her love is pure and noble, and she is unswervingly loyal to it, though she is hurt most deeply. she has love become distillation of life; she makes her voice resound across the heavens. her voice is louder and more beautiful. however, no matter whose voice it is, all of them are faint. they just build their ivory tower of love by their own, without attracting public attention, paying great cost but gaining great pain. they all can’t completely change the traditional values and persuade their lovers to accept their faith; they still can’t stop tragedies and make themselves happier in love.

5. conclusion

singing her own little song, meggie convinces it’s the most wonderful song the world has ever heard. she just hopes her faith can bring her a significant and happy life; she just hopes that her voice for love can bring ralph’s attention and respect. in order to get love, she would rather offer her life as the greatest sacrifice, and her elevated demeanor is matchless for other women. but she still fails, as other western women’s fate.

there is a greek saying that it’s a sin against the gods to love something beyond all reason. when someone loves so, the gods become jealous, and strike the object down in the very fullness of its flower, and make her suffer all the time. it’s profane to love too much, but women always choose to set their whole mind and heart on love. so they are always injured severely. it’s been god’s punishment to women since eve ate the forbidden fruit. god not only sent her forth from the garden of eden, but also keeps punishing her and her female descendants, having them choose love as their faith and suffer from it in every moment till their death. as long as they live, women can’t stop longing for love, searching for love, fighting for love, and waiting for love. however, it’s easy for men to ignore women’s indefatigable zeal for faith. what’s worse, men don’t have the inclination to understand women. they seem not to know that women are different, needing things they don’t need. women are just one of men’s ribs, so how can a rib win the whole body? therefore, women’s attempt is destined to failure, and their voice for love is always so faint that they often feel hopeless and helpless. but they still don’t want to give up their faith. they know they will pay great cost, but they never stop searching for their sharpest and longest thorn. as long as love lies, women will keep suffering. however, women’s faith for love brings them a wonderful and significant life, which will ring in the world forever.

bibliography

[1]collee mccullough. the introduction in the thorn birds[m]. new york: harper&row. publishers. inc. 1977.

[2]同上.

[3]余嘉. 追寻荆棘的女人 ——浅论《荆棘鸟》中的女性形象[j]. 齐齐哈尔大学学报. 2001年第5期: p60.

[4]collee mccullough. the thorn birds[m]. new york: harper&row. publishers. inc. 1977: p62.

[5]同上, p551.

[6]同上, p418.

[7]同上, p692.

[8]同上, p72.

[9]同上, p182.

[10]同上, p144.

[11]同上, p192.

[12]同上, p12.

[13]同上, p152.

[14]同上, p152-153.

[15]同上, p528.

[16]同上, p692.

[17]同上, p70.

[18]同上, p561.

[19]同上, p650.

[20]同上, p488.

[21]程丽华. 浅析《荆棘鸟》中男性角色的价值取向对婚姻的影响[j]. 佳木斯大学学报. 2005年第2期: p61.

[22]同[4], p423

[23]弗吉尼亚.伍尔芙著. 孔小炯 黄梅译. 妇女和小说[a]. 《伍尔芙随笔集》[c]. 深圳:深圳海天出版社. 1993.9: p182.

[24] 刘炳善 编著. 《英国文学简史》[m]. 河南: 河南人民出版社. 2001.9: p371.

[25] jane austen. pride and prejudice[m]. 上海:世界图书出版公司. 2004: p141.

[26]同上, p265.

[27]张丽 余礼娜. 从《傲慢与偏见》和《简爱》看当时英国女性状况[j]. 成都电子机械高等专科学校学报. 2005年第2期: p92.

[28]刘佩云. 女性的另一种自尊 ——《荆棘鸟》与《简爱》中女情自省自主意识[j]. 固原师专学报. 2004年第2期: p43.

[29] charlotte bronte. jane eyre[m]. 上海:世界图书出版公司. 2004: p302.

[30] 王轶美. 从《呼啸山庄》看女性的自我追求[j]. 哈尔滨学院学报. 2003年第3期: p98.

[31] emily bronte. wuthering heights[m]. 北京:外文出版社. 1993: p121.

[32] 张金凤. 从分裂走向统一的自我 ——对《弗洛斯河上的磨房》中女性形象的精神分析读[j]. 外国语学院学报. 2004年第5期: p80.

[33] george eliot. the mill on the floss[m]. 上海:商务印书馆. 1995: p3.

[34]同上, p693.

信仰爱情篇3

徐xx一名普通的共产党员，xx扶贫办科室负责人。2018年9月6日上午9点舍己救人的场面感动围观的群众纷纷点赞。

xx县xx市场西边的十字路口红绿灯处，一位老人骑着脚蹬三轮由南往北下坡，车失控侧翻，老人从车上栽倒地下，慢慢爬起又摔倒，自己又爬起，结果重重的向后倒去，扶贫办徐xx一行三人刚接受扶贫的任务赶往薛楼 ， 车开到红绿灯看到很多车都在滞留，以为是堵车，坐在副驾驶位置上的他看的清清楚楚老人连续摔倒，马上喊司机“ 快快开过去救人”，超越前边停着的大约十几辆车闯过红灯，停在了路边 ，迅速飞奔四五十米，用双手用胸脯从后边托住了老人，告诉她“不要动，等救护车”，徐xx看到老人右额鸡蛋大的包，左眼划破一个大口子一脸的血往外流，全身打哆嗦，徐xx用衣服包着老人，告诉她“别怕别怕”把老人抱在路边，老人吓得屙尿一裤子， 家在xx谢园80多岁的老人，说不清楚电话，等家里赶来 一群人徐xx和两个同事蒋欢迎和 文振中方才离开，周围远远的围观了很多人，三路口都停放着很多过路车，离老人最近的是一辆公交车已经停了十几分钟，目击救人的场景感人至深，车上的人都伸出大拇指点赞，感动咱扶贫 办的小伙子爱心友善党员品格。红绿灯的监控里还原着他们救人的场景， 当天晚上找到徐xx本人的时候他正在民主街的医院里挂着吊水 ，高烧39度的他从没有节假日带病工作， 舍己救人的高尚情操彰显一名党员的情怀。

特困户的感动

酷热的的暑假，徐xx正在审核“雨露计划”大学生的2000元补助，这时突然进来了一个程庄的农民，扑倒就给一屋人磕头，紧紧的抱着徐xx的腿就是不松手，一边哭一边诉说着，“两个孩子同时考上大学，家庭困难，要求补助”，当徐xx看到来的农民头是畸形的，头上三分之一处没有骨头，他哭了， 迅速拉起来的人，徐xx把自己的盒饭送到他手里 说“我一定给你联系，帮助你解决。” 并从口袋里掏出200元钱塞给农民。中午带着农民开车来到乡镇，直到落实了这件事，他才舒了一口气。这位农民感动的热泪盈眶千恩万谢的说“感谢党，感谢党，你真是党的好干部”。第二天又来了一个妇女带着孩子哭诉着，他又掏钱给了小孩。徐xx说“这样的事大概有20多次吧，我不能看谁哭，因为我父亲为了工作早早过世，母亲带着我作的难，咱是在苦水里泡大的。”村里修路，砍杨树，修下水道，只要是公益事业，每次他都积极倡导，捐款出力，为创和谐社会，为小康默默做贡献，释然正能量。

无怨无悔 带病工作

扶贫攻坚的路上，他有惊人的毅力，他有执着的精神，他有顽强的坚守，他有无私无畏的勇气，他有不为名利的奉献，更有勇于承担的责任心。麦秆禁烧，整个扶贫办就六个工作人员，一个领导，两个女同志，他就主动挑起这个担子，白天扶贫办上班，晚上到曹庄梨园新村麦地里守夜，白天黑夜连轴转，吃饭的时候手里拿着的馒头嘴里嚼着就睡着了，他给老百姓装车，扛包，给留守老人开车把打下的麦子送家走，他的行为感动着很多人。麦茬高了，他让收割机重新返工，工人不同意，要收费，他自己掏出二百元钱交给联合收割机返工，由于是晚上，地头的麦茬还是不符合标准，梨园新村的负责人杨圣贤说“你的工作没说的，太认真。”县里表彰总结大会，这时 徐xx因劳累过度， 正躺在医院手术台上，肾积水手术，徐州的专家安排他，你千万注意休息卧床半个月，然而手术的第三天，一个电话，尿着鲜血，又去农村抽查汇报情况，晚上，发着烧依然坐在办公室汇总材料数据 ，深夜十一点陈县长推开门要材料，看到他桌上没有动的盒饭，看着他挂着的尿袋全是血水，拍着他的肩膀说不出一句话来 。因为 这项工作是没有人能替带的。这件事感动很多人。他有太多的委屈 ，忍辱负重，就是不抱怨 ， 他坚信共产党员的品格永远是高尚的。我应该做的更好。

不为名利 何计得失

徐xx是多面手，能写会画，负责乡镇纪检和文化站工作，外号“万金油”。由于出色的工作，徐xx从砀城镇借调组织部工作，每期党员生活刊物封面设计和精彩篇章都是他汗水的结晶。全县为了打赢扶贫攻坚战，抽调强有力的班子，县领导第一个就点了他，到县扶贫办工作， 现如今挑起全县社会扶贫的重担子，带着一线扶贫队员求真务实向前走。为了扶贫，为了在精准二字上下功夫，徐xx在艰辛、艰难的路上创新发展，探索新路子，献计献策，实干精神是众所周知的 ，四年多的时间，他没有星期天，没有节假日，每一个早上最早走进办公室，每一个夜晚，最晚离开政务新区的大楼，一堆堆的材料，一摞摞的数据，在精准中说事，在扶贫中流汗， 六个科室，大家有目共睹，最忙的就是社会扶贫这一块了，每年的评优他都谦让，每人奖励两千元 他首先告诉领导“给其他科室吧，大家都很辛苦，奖励别考虑我，这都是咱份内的工作。”扶贫办的领导，离开单位时，都握着他的手伸出大拇指夸赞说“你是好样的，”他这种忘我工作精神， 称得起事业狂，他做到了平凡，更能挺直腰杆堂堂正正做人， 当今社会就是需要徐xx这样不要名利，扶贫工作不计得失的勇士。

打赢扶贫攻坚战

面对千头万绪的扶贫工作，面对精准扶贫的数字环节，徐xx一丝不苟，不放弃一个贫困户，不放松一个村的工作，他超负荷的工作，常常忘记吃饭，忘记睡觉，扶贫的队员都知道，深夜的突然通知，那个打电话的人就是徐xx，那九楼的灯光必定是他。一次夜里十点接通知，开始打电话到夜里一点多，还没有能通知到，凌晨三点多也是常有的事，索性在沙发上蜷缩一会，然后接着干。 去年的“国评”一天一夜的通知等待，一天半夜的归总材料，两天一夜半啊，他说“我知道了什么是食而无味 ，解放军战士埋伏三天三夜是怎么熬的。” 徐xx的孩子病了，老母亲招呼吃喝喂药，母亲每个夜晚都牵挂他，督促他有病就看，每晚等着他，直到他拖着疲惫的身子回来，母亲才睡去 ，母亲夜里起来多少次望着门口，过年下大雪 ，老母亲下楼接他， 滑倒了，造成大腿骨折，母亲鼻子眼睛肿在了一起，别人问徐xx，你的母亲脸淤血青紫你知道吗，他回到家里一看，埋怨母亲说“你以后不要牵挂我，我不是小孩子，忙完这阵子会好的。”老母亲说“我的儿啊，为了扶贫 也不能不要命啊。”

信仰爱情篇4

[关键词] 狐仙；信仰；《画皮》；电影；解析

电影《画皮》是取材蒲松龄《聊斋志异》中的主要人物与“九霄灵狐”爱恋故事的影片。影片播出后，所获票房居高不下，深受海内外观众的好评与青睐。从电影《画皮》的故事情节与作品的文学视角分析来看，我认为该影片与中国民间的狐仙信仰观有着密切联系，本文以此为视角剖析其中的深层文化意蕴。

一、民间狐仙信仰之广

狐仙，指的是修炼成仙并能幻化为人形的自然界的动物狐狸。狐仙在民间被分为善灵与恶灵两种类型。善灵通常供奉于仙堂，享受人间香火与尊崇，为人解除祸患祈福禳灾；恶灵则被视为祸患于人，要被萨满或灵媒祛除。内蒙古科尔沁地区的蒙古族人有普遍信仰狐仙的习俗。譬如，科左中旗钱玉兰萨满所附体的众多守护神灵中就有狐仙。钱玉兰请狐仙附体时，其乐舞姿态酷似狐狸的动作。萨满请狐仙附体一般为汉族人治病，萨满既是中间人，也是神的代言人，或者也可称其为灵媒。这是因为狐仙被认为是“汉文化圈”原始中的一位神灵，主要为汉族人服务。

狐仙，又一般为女性。关于狐仙之说，我们并不陌生。社会上所流传的各种名目繁多的神灵传奇小说皆有相关的文献记载。甚至当代社会流行的网络游戏中也不乏法力超群、诱惑力强与女色兼备的狐仙。许多传说故事常会将幻化为人形的美貌狐仙女子与眉清目秀、家境贫寒的书生或怀才不遇的秀才产生千丝万缕的爱恋关系。其故事内容的实质是一种对狐仙理想化、人格化的塑造。

狐仙信仰不仅是蒙古族萨满，汉族民间信仰狐仙也颇为广泛。狐仙为族人服务要通过附体的方式展现，附体的人也就是中间者被称为萨满、巫婆或神汉。

对于狐仙信仰的史料记载也颇盛。《万全县志・迷信》①（民国二十三年版）载：

迷信甚深，尤以妇女为最。各家皆供狐仙，以求保佑，甚至有一人即供一仙，俗呼为本身狐仙。子初生时即供之，生男则供女狐仙，生女则供男狐仙，男娶女聘后，则所供之狐仙亦改为男女双坐矣。人死，则将本身狐仙焚之，或装入馆内。

《朝野金载》：

唐初以来百姓多事狐神。房中祭祀以乞恩，食饮与人同之。事者非一主。当时有谚云：无狐媚不成村。②

《山东民俗・灵物》③又载：

有灵的动物，首推狐狸和黄鼬，它们一向被民间视为仙家之类来供奉……一些巫婆、神汉家中设佛龛供胡（狐）仙，声称仙家附体，为人卜疑难，说休咎……

总之，无论在蒙古族萨满祭祀仪式，抑或是汉族的巫婆、神汉的祭祀仪式，皆是将信仰――结构――行为三者关系紧密结合。人是狐仙神灵的信仰者，信仰又存在于人的潜意识的印象，信仰者必须在仪式结构中展现对神灵的尊崇，并且认真执行约定俗成的仪式行为及其宗教戒律。譬如，人要在仪式的执仪过程中请神、降神、附体、送神、谢神等。整个仪式过程我们可称为仪式结构，执仪者所做的一切动作或活动我们都可视作仪式行为；仪式行为，最终为信仰者内心世界对狐仙的信仰服务。狐仙信仰是一种以世俗化理念为支撑的思想意识，建立于人们的生产、生活密切联系的基础之上。对这种超自然的信仰现象归根结底离不开传统文化，“传统的对人的行为之所以具有规范作用和道德感召力，都是由于传统被人们赋予了神圣或超凡的特质。”④

二、《画皮》中“狐人之恋”

电影《画皮》是一部爱情故事影片。秦汉末年，将领王生率其部攻占西域匪徒，激战胜利后，并获一佳丽――小唯；小唯是披人皮“九霄灵狐”所变的绝色女子，对英俊勇猛的王生萌生爱恋，并献计用女色与妖术诱惑王生。小唯的靓丽面皮必须食用人心而养护，否则将变得干裂丑陋。“蜥蜴妖”小易⑤为了向小唯表达爱意，暗中为其杀人取心供养小唯，王生所统治的都城死伤无数性命，陷入恐慌。王生的原配夫妻佩蓉在无意间察觉小唯的本来面目，深知小唯的险恶用心，她决心用自己的真爱感召王生，令其回心转意。王生一边难以割舍善良贤惠的妻子佩蓉，一边又贪恋拥有美色的“九霄灵狐”小唯，⑥在爱与被爱的矛盾中一时难以取舍。佩蓉与小唯之间也同样发生了暗中的夺情之争。

武艺高强的庞勇乃一介武夫，曾与王生、佩蓉情同手足，并始终对佩蓉怀有好感，后终因佩蓉嫁给王生而被迫隐匿江湖。庞勇在浪迹江湖之时遇到冰清玉洁、善良的降魔传人夏冰，二人擦出爱情火花。佩蓉为了营救众生，也为了维护与王生的夫妻之情，面对狰狞强势的“九霄灵狐”不得不求助庞勇。在庞勇周密的计划与明察暗访之下，“九霄灵狐”的真实身份随着电影剧情的发展逐渐败露。

佩蓉为了祈求小唯不再杀人，不伤害王生，甘愿喝下小唯施了妖术的魔水，瞬间变为白发魔女。王府乃至整个都城顿时慌乱，不知实情的将士们纷纷聚集而来开始追杀变为魔女的佩蓉。幸亏庞勇与夏冰及时赶到，才将佩蓉营救到一荒山野岭的山洞，王生率领将士与小唯尾随而来。佩蓉深知自己中了妖毒必死无疑，若告诉王生事实真相，王生也难以相信。无奈之下，在弥留之际将匕首刺入腹中死于王生的怀抱；王生见此情景也明白了事实的真相懊悔莫及，为了履行一位做丈夫的职责跪求小唯宁愿以死换取佩蓉的再生，也将匕首刺于腹中而亡。狐仙小唯仰天长啸被人间的真爱所感动，从口中吐出修炼千年的灵丹准备拯救王生、佩蓉。一瞬间“蜥蜴妖”小易出现夺走灵丹。庞勇、夏冰联手与小易动武争夺灵丹，打斗几十回合两败俱伤难分胜败。无奈之下，庞勇抱住小易一同刺入夏冰的降魔剑下同归于尽。夏冰取回灵丹交给小唯，小唯用灵丹救回所有人的性命。同时，小唯也因灵气丧失灰飞烟灭。最终，王生与佩蓉重归于好，回到王府；庞勇与夏冰继续浪迹江湖共做降魔者。

爱情与生命的真谛是电影《画皮》彰显的主要剧情，演绎了一场人与妖、人与人、妖与妖之间荡气回肠的感人恋情。《画皮》所刻画的“明”与“暗”的恋情关系又是错综复杂的。归结起来，整个故事蕴涵着两条感情线。一条是妖与妖、妖与人的感情线。即小易一厢情愿的钟情狐仙小唯，并且伴随小唯身边，甘愿为其杀人取心；而小唯爱恋的却是王生，最终也因情所动吐出灵丹挽救众人性命。她是由“恶”转向了“善”。事实王生也迷恋小唯的美色，几次在梦境中与小唯缠绵；第二条感情线是人与人的感情线。庞勇与佩蓉、王生原先存在着深厚的友谊。虽然佩蓉嫁给了王生，但是庞勇仍然暗恋着佩蓉，佩蓉也对庞勇怀有好感。佩蓉出于世俗伦理，没有背叛夫君王生，与庞勇仅是保存着纯洁的友谊关系。庞勇在流浪江湖之时，又遇到降魔者夏冰，二人产生恋情。这种复杂的恋情关系，也是《画皮》所塑造的主要剧情，作者通过镜头进行了生动刻画，并向观众予以了很好的展演。

三、《画皮》中的狐仙是民间狐仙信仰的体现

无论是憎恶还是欢喜、爱怜，中国人更愿意与狐狸发生关系，交往，并且还希望它千年不变。甚至在科技文明已经昌明的当下，依然将自己幻化为狐，幽怨地也是急切地期待狐狸精（狐仙）显身。⑦田野考察的实践证明，在科学技术已具一定水平的中国，民间对狐仙的信仰依然存有大量信众。可见，在中国人的传统宗教观念中对于狐仙信仰是根深蒂固的。乃至于中国许多“口头语”中也表征出中国人与狐仙潜移默化的信仰关系。譬如，狐朋狗友、狐假虎威、狐狸尾巴、狐狸精、狐媚等。

前文已有所述，民间的狐仙信仰有善灵与恶灵之分，善灵要供奉于仙堂，恶灵则将其驱除。电影《画皮》中所塑造的“九尾灵狐”实质为嗜血成性，靠吞食人心维护美丽面皮的恶灵。“狐仙依靠外貌的美丽来吸引男人的眼球，依靠狐媚俘获男人的心。美丽与狐媚是爱情的催化剂，可是有的爱情只是开花却没有结果，这种现象也就是人们说的，除了亲情、友情、爱情之外的‘第四种感情’。”⑧由“九尾灵狐”幻化为人形的小唯对英俊勇猛的武将王生萌生了痴迷的爱恋，乃至费尽周折引诱、迷惑王生。剧情已有所暗示，王生的几次梦境中皆出现美色与诱惑兼备的小唯，并多次出现与其缠绵的情景。这也告诉我们王生的内心世界对小唯是充满着好感与迷恋的。中国人耳濡目染的一句话“日有所思，夜有所梦”，电影《画皮》正体现了这一点，很巧妙地将这种关系通过银屏展现于观众。

这也喻示了《画皮》中狐与人、人与人错综复杂的爱情关系其实是当下现实生活的一个缩影。在物欲衡量的当代社会，让人们吸取经验教训，并发出宣告，启示人们从中顿悟人生哲理与爱情价值观；或在批判当代社会所出现的种种陈庸、恶劣的世俗化观念，歌颂纯洁、至高无上的爱情、友谊以及信义、良善的传统美德。影片剧情告诉我们在大爱与大德面前，嗜血成性的灵兽，都做出了弃恶从善的伟大举措，用自己修炼千年的灵丹救回死去的众生，最终因违反妖规戒律步入寒冰地狱。那么，良善、思想与道德兼备的人类又为何做不到呢？

我认为《画皮》中的“九霄灵狐”，实际取材于民间的狐仙信仰观。《画皮》的电影素材来源于蒲松龄的《聊斋志异》。从蒲松龄所处的社会环境可知，其人虽然书生意气，挥斥方遒，但是在饱受战乱、混沌的封建社会却落得个一生困顿，备尝现实世界的苦楚。而苦读诗书出身的蒲松龄熟知中国历史悠久的狐仙信仰在民众心目中的地位。他笔下写出的众多狐仙女性形象正是来源于此，他实际是用狐仙的神灵世界来反映社会的现实生活。而“九霄灵狐”也不例外，它是从早先的恶灵，最终在大爱的感召下转化为善。实际是作者通过狐仙理想化的塑造，表达内心世界对现实生活由暗转明，弃恶从善的一种期待。

在科尔沁田野考察的采访中获知，狐仙的信众们总是认为狐仙也有从恶灵转为善灵的案例。当地人讲到这里，总会举出不计其数的故事或传说；或者是某某家所遇到的奇异事件。但总的特点是，某位狐仙最初是恶灵，祸患于人，使人卧病在床，但是在信众长期的供奉与虔诚的敬仰之下，病人会变为狐仙的灵媒，当地也称之为萨满。这样病情开始缓解，直至康复。狐仙附体于人后，可以为人们预知祸患，祈福禳灾。

总之，《画皮》中的狐仙，正是利用了民间的狐仙信仰的这种观念，二者有着异曲同工的内在联系。只是“九霄灵狐”在民间信仰的基础上赋予了理想化、人格化的青年男女间爱情观的层面，但其本身还是具有扭转生死轮回，超越人类所及的能力，这种本质特征仍然是中国广大民间狐仙信仰的神灵世界中对神灵虔诚崇拜世俗化诉求的一种体现。

注释：

①②③ 山民：《狐仙信仰之谜》，学苑出版社，1996年版，第4页，第5页，第5页。

④ [美]E.希尔斯：《论传统》，傅铿、吕乐译，上海人民出版社，1991年版，第5页。

⑤ 小易，一只沙漠蜥蜴修成的半人半妖，也是为小唯取人心的隐形杀手，并钟爱“九尾狐妖”小唯。

⑥ 王生最初并未知晓小唯是“九霄灵狐”所变的妖女。

⑦ 岳永逸：《多面的狐仙与另一只眼――评〈狐仙敬拜：帝国晚期和现代中国的权利、性别与民众宗教〉》，《开放时代》，2011年第9期。

⑧ 李琨：《从〈聊斋志异〉中看狐仙的女性形象》，《文化纵横》，2009年第11期。

信仰爱情篇5

谍战剧：自身魅力掀起风靡浪潮

谍战剧是以间谍活动为主题的一类影视剧，其中包括卧底、特务、爱情、暴力刑讯等元素。2005年，一部《暗算》悄然掀起电视荧屏的谍战之风，随后这股风潮席卷各电视频道黄金剧场，并随着《潜伏》的播出达到顶点，随后仍热度不减。谍战剧将主流意识形态以一种通俗的方式讲解，体现出电视文化生态在产业化大潮下的变迁，同时符合当今社会的审美特质。

一、紧凑情节的表现力。曾有学者通过实验证实收看电视剧的时候，人的注意力一次性最多维持12分钟，也就是说如果12分钟内不能让剧情出现新的变化，观众便很可能倾向于将注意力离开剧情本身。谍战剧在此方面极具优势，其最大特点在于情节密度高且设计巧妙，剧情张力强，符合当今观众的收视习惯。剧情中的悬念，使观众在自身揣测和逻辑推理中跟着剧情前进。

二、与时俱进的创造力。如果说第一部谍战剧受到追捧是因为新鲜感和“陌生化”策略，那么之后谍战剧依旧热度不减的原因便是其与时俱进的创造力，通过扣人心弦的情节和传奇的人物经历抓住观众。随着时代的发展，谍战剧也在不断发展成熟，使其在具备引导性的同时更具观赏性。新时代的谍战剧在保持了原本精彩紧张气氛的同时，还重视描写丰满人格的人物，注重多元化发展，创造了如余则成、黄依依这样复杂却真性情的主人公。在剧情走向上也不断向其他国家、其他剧种学习，给观众带来全新的审美体验。

三、爱国信仰的感染力。经过多年发展，谍战剧中宣扬的主题思想始终未变，主人公身上的爱国情怀与坚定的信仰始终是谍战剧的主线，这样的主题思想能够带给观众正面影响。特殊的环境背景、危险的革命时期，给观众极强的代入感，使观众得到精神上的洗礼，沉淀出对祖国的热爱和民族的归属感，受到观众好评和追捧。同时，虽然电视剧的市场化程度较高，但谍战剧爱国主题不变的选择，使其得到国家的支持和鼓励。

谍战剧：发展嬗变中成熟壮大

经过多年发展，谍战剧不断推陈出新，始终保持着强大的生命力，呈现出欣欣向荣的景象。在其发展成熟的过程中，谍战剧本身不断发生变化。

一、意识形态的隐形书写。在谍战剧中，故事多发生在抗日战争与解放战争时期的敌我情报战中，其主要线索多是我党情报人员打入敌人内部并与之展开殊死较量，通过艰苦卓绝的斗争，获取情报帮助我党赢得战争胜利。剧中通过主人公对信仰的坚守，传递着核心价值观念，迎合主流意识形态表达诉求的同时满足了观众英雄情结的审美期待。与早期反特片中通过英雄人物神话般的信仰向观众表达爱国主义等主流价值观不同，新世纪的谍战剧逐渐成熟，按照市场变化和观众的审美需求改变叙事策略，将主流意识形态植入到观众喜闻乐见的流行元素和英雄人物的精神成长中，主人公不再是“高大全”的完美模型，而是有血有肉的平民英雄。如《潜伏》的主人公余则成只是军统负责监听工作的一名普通职员，起初并没有信仰，但随着剧情发展和人物内心的成长，余则成逐渐成长为有着坚定信仰的英雄人物。爱国精神与信仰不断形成并日渐坚定的人物成长过程实际上是爱国主义、革命信仰等主流价值观的隐形书写。

二、类型融合的兼收并蓄。早期的谍战剧自成一派，歌颂英雄人物的爱国精神和革命信仰，故事线索单一，可概括为“发现案情―侦查案情―缉拿犯人―转危为安”。为了适应市场的变化和受众的审美需求，谍战剧创作者意识到不能在低水平的跟风中停步不前，需要不断进行类型模式上的创新。在其不断的发展成熟中，谍战剧杂糅了青春偶像剧、家庭伦理剧等其他剧种的叙事模式，并借鉴美剧等国外类型影视作品的叙事技巧与类型元素，使谍战剧故事线索更加多元化，以满足观众多元化的审美需求。多种类型的组合使谍战剧既具有男性喜欢的悬疑、武侠、动作，也有女性所中意的柔情、恋爱和家长里短，是喜剧、言情剧、武侠剧等各种类型电视剧卖点元素的集合者、在兼收并蓄中发展自己，吸引观众，扩大传播范围，达到最佳的传播效果。

三、艺术表达的审美转换。主流意识形态与核心价值观在维护国家安全、促进社会和谐发展、保护群众利益等诸多方面发挥着十分重要的作用，从根本上来说与广大人民群众的利益息息相关，与百姓有着天然的贴近性。早期的反特片模式僵化，说教意味浓重，艺术形式过于刻板，脱离了观众的审美认同。在娱乐化主导的大众文化语境下，谍战剧与时俱进，将其负载的主流意识形态进行娱乐化、生活化的转换，即将宏大历史叙事向世俗化日常审美进行转换，主要表现在对新英雄主义人物的设计与喜剧等类型元素的设置上。创作者在主流意识形态和大众日常生活之间找到一种相关性，尽量消除主流意识形态和传统精英美学与大众日常生活之间的距离，②使其爱国主义和坚守信仰的革命情怀依然受到观众喜爱和追捧。

尽管谍战剧不断发展变化，但是其信仰的核心和爱国的主题从未改变。类型元素的兼收并蓄、世俗生活化的审美表达使谍战剧在发展中不断成熟，回归历史，向传统民族文化寻找精神救赎，在冲突中坚持价值信仰。谍战剧文本中充盈着的激昂进取基调，吸引了更广泛的观众，书写着爱国主义为核心的革命情怀，使其始终是传播社会主义核心价值观的重要载体。

谍战剧：社会主义核心价值观的传播载体

谍战剧的创作是其作为产品的核心环节，是社会主义核心价值观表达、传播和体验的直接载体。因此，其选材、主题和主人公的选择和精神展现对社会主义核心价值观的传播至关重要，使得谍战剧成为社会主义核心价值观的重要传播载体。具体而言，谍战剧对社会主义核心价值观的传播是通过谍战剧中主题思想、英雄人物的塑造和评价来实现的。

一、永不褪色的爱国主题。谍战剧中贯穿始终的主题思想是爱国主义，对于国家的高度热爱是谍战剧中必不可少的精神体现，这种爱国精神在谍战剧中主要表现在：无论环境条件多么恶劣，谍报人员始终将国家交付的任务放在首位，在艰难困苦中坚持刺探和传递敌方消息。《五号特工组》中五位身怀绝技的爱国青年，为了民族大义，放下手中工作而来，满怀爱国热情与敌人进行暗中较量，以卓越的才智突破重围，为中国的革命斗争贡献着自己的力量。而促使他们放弃原本的安稳生活进而投入这场危机四伏的战斗的动力，便是他们对于祖国热忱的爱。正是爱国主义主题的经久不衰，使谍战剧的呈现始终保持着爱国主义的精神闪光点，推动着社会主义核心价值的呈现。

二、经久不衰的英雄情结。谍战剧中的英雄人物从来都有坚定的革命信念和不畏牺牲的顽强精神。谍战剧中的英雄与传统意义上的英雄不同，他们是在特殊的社会环境中从事特殊的职业，潜伏在敌营之中，稍有不慎就会带来生命危险。这样的人物拥有坚定的革命信念和不畏牺牲的顽强精神，胆大心细，能巧妙地置身于危险的环境中并与敌人周旋斗智。不论是早期反特剧中的“英雄式”英雄，还是新时期谍战剧中的“平民式”英雄，谍战剧中的正面人物形象充满了正面色彩――有工作能力、有爱国信仰，是剧中的重点人物。这很容易引起观众的注意和英雄崇拜心理，这一点可以通过谍战剧的精神引导，对社会主义核心价值观进行诠释和渗透。

三、坚定不移的革命信仰。宣扬爱国主义精神和英雄主义都是谍战剧所表达的主题思想，但是细看下去，从事谍战工作的主人公总是能够在艰苦卓绝中坚持自己的工作，即便献出生命仍不放弃，这就必须回归到最基本的信仰问题。纵观谍战剧发展的全过程，对于革命信仰的展现一直是谍战剧的核心。《潜伏》中的余则成、《隐形将军》中的连成都是用自身信仰来书写人生的人物。即便面对亲情、友情、爱情的考验，他们还是痛定思痛地选择了贯彻革命信仰，忠于祖国和人民。《捍卫者》中表层故事是捍卫国家安全，而这些安全人员的勇气力量来自于他们的信仰。让曹先生出场，说明共产党人的力量从哪来，共产党人有勇气去牺牲是因为他们心中有为人民谋福利的信仰，“捍卫者”捍卫的是他们心中的信仰。③正是对坚定不移的革命信仰的客观描写，使信仰作为谍战剧的核心，既是对国家、对民族的信仰，也是对生活的信仰，这种爱国主义的民族信仰始终贯穿全剧。

四、播评环节的正确引导。作为文化产品的传播渠道，电视剧的播出是电视剧本体与观众客体的中间环节。对电视剧传播渠道的管理、引导，同样是电视剧推进社会主义核心价值观构建的重要内容。谍战剧凭借其向上的主题思想，爱国主义精神的传递，得到了国家的重视和支持，使其在传播渠道上具有竞争优势，一定程度上保护了社会主义核心价值的构建渠道。

电视剧的评价是推动电视剧产业发展健康成长的重要力量，对于通过引导电视剧创作潮流构建社会主义核心价值体系发挥着积极的作用。业界、学界对于优秀谍战剧的评价，可以对社会主义核心价值体系的构建进行把脉，把握和引领主流价值观。谍战剧的创作主题、传播渠道以及相关评价等的良好健康发展，为谍战剧保持爱国向上的主题风格、传播核心价值观念提供重要保证，使谍战剧成为传播社会主义核心价值观的重要载体。

随着《暗算》《潜伏》等优秀谍战剧的热播，谍战剧的创作出现了风起云涌的规模化创作态势，但其中获得收视佳绩与良好口碑的优秀谍战剧并不与数量上的井喷成正比。《潜伏》后的一些谍战剧，由于剧情上的孱弱和场面的血腥饱受诟病，谍战剧粗制滥造的现象严重，在一定程度上威胁了谍战剧核心精神的表达，进而不利于社会主义核心价值观的展现。谍战剧是我国当代主旋律电视剧的重要一种，对爱国主义精神乃至社会主义核心价值观的传播发挥了重要作用，是传播社会主义核心价值观的重要载体。

（作者单位：北京交通大学） 栏目责编：曾 鸣

注释：

①苗 露：《中国谍战类影视剧研究》，杭州，浙江大学，2012。

②周安华，易前良：《论当代电视剧意识形态“世俗化”的选择》，现代传播，2007 （2）。

信仰爱情篇6

――“这不是偶然事件。”

2.――“假如一个月前没错过那火车，我就不会和你在一起。”

――“这不是偶然事件。”

――“不，我相信是。”

3.我们的出生是一场偶然，还是一场必然，这是个值得思考的问题。

4.《盲打误撞》就是想探讨这样一种偶然性与必然性的片子。片子里主人公威特克在父亲去世后决定寻找一种新的生活，这种新生活因为他赶上或者没赶上火车呈现出不同的面貌，电影里列举了三种可能：赶上了火车，在车上遇见了一个共产党员，从此从政；没赶上，并因为和铁路纠察扭打，因此被判拘留30天，这个机会让他得以认识反政府的神父，从此反政府；没赶上，也没和人打架，却遇上一个女同学，从此娶妻生子，成为知识阶层。

《盲打误撞》另一个中文译名是《盲目的机遇》，又叫《机遇之歌》（Blind chance），这是大师基耶斯洛夫斯基1981年的作品。

5.感谢基耶斯洛夫斯基，谢谢他并没有在偶然与必然之间挑选一个，下一个结论，做一个判断。否则，不管他挑选哪一个，我都不会买他的账。

6.基耶斯洛夫斯基是一个怀疑论者，前面已经说了，他一直在怀疑人生的偶然性和必然性。基耶斯洛夫斯基从对命运的偶然性和必然性出发，又追问、怀疑了两个东西：信仰与爱情。

如果人的信仰和爱情会因外界的一点波动而变得面目全非，那信仰和爱情的神圣的色彩还能保留吗？

威特克在三种情况下分别信仰了共产主义（至少他加入了共产党）、宗教和对这两者都不参与的中立信仰。基耶斯洛夫斯基要质疑的并不是这三种信仰任何一种的合理性，他关心的是，这些他信仰的东西对他来说真的有神圣可言吗？这些信仰是出自他的灵魂吗？而从电影中我们反省自己，我们自己坚守的信仰，是不是也是因为受到了一个偶然因素的影响？如果是这样，我们能保证自己的信仰是神圣的，而且可以使自己的灵魂得救吗？

而对于爱情，我们一向乐于相信的说法是“于千百年中，在时间的无垠的荒野上，有两个人，没有早一步，也没有晚一步，就这样相逢了”。然而，这三章的故事恰是对这个神话的一声愉快的嘲讽。威特克在三种不同的机遇面前，选择了三个不同的女人，或许在每一个故事中他和她都相信缘分，都认为自己是最适合对方的，时间地点全赶上了。然而，当我们跳出这三个故事对其俯视时，我们发现，他们在爱情中愈是投入，愈是认真，就愈是让人觉得荒谬，他对任何一个姑娘确定不疑的爱立刻会招来他“平行世界”中另外两个姑娘的不满。当然，当我们嘲讽够了以后，这嘲讽必然回到我们自身：我们现在苦心经营的爱情，志得意满的爱情，会不会也仅仅只是一个偶然，如果那天风是朝另一个方向吹，这份爱情和爱情里的人会不会都变得面目全非呢？这份爱情的神秘、高贵、美丽会不会都被剥落下来呢？

信仰爱情篇7

史铁生一生可以说是命途多舛，一生之中因为身体的原因就没有几天安稳的日子，可是他没有消沉下去，他仍然活着，而且他的作品多次获奖，虽然他不认为自己是作家，可是在写作这条路上他已经走得很好，并感动启发了无数人。他的坚强，是绝望之后的坚强，置之死地而后生的毅力，他看见了绝望，到过绝境，所以他才走的如此坦然，他看到了一座大山，知道有生之年无论如何也翻越不了，于是他不那么急着向山顶赶，沿途一路欣赏了过来，收获还颇丰，作品丰硕，母爱温馨，爱情美好。他在他的生命之中看到了救赎之光，这救赎之路也给读者提供了一个去处的可能。

1.爱 愿

"看见苦难的永恒，实在是神的垂怜-唯此才能真正断除迷执，相信爱才是人类唯一的救助。这爱不单是友善、慈悲、助人为乐，他根本就是你的福。这爱，非居高的施舍，乃谦恭的仰望，接受苦难，从而走向精神的超越。这样的信仰才是众妙之门。"这爱是大爱，是一种心愿，是一种信仰，是自己灵魂的拯救之路。可是这爱却艰难，因为人与人互相防备，不能敞开心魂，贾宝玉大爱的结局是在老妈子眼里是个呆子，这种爱世上有几人有，有的人的爱在现实的坚壁面前被打入绝地，所以这种爱是一种心愿，而这爱必也得永恒，因为人与人之间永恒的隔膜。"人的处境是隔离，人的愿望是沟通"我们只能永恒保持这爱愿，才能帮助别人亦救赎自己。而在这爱愿之中独特的是爱情，史铁生花了很大的篇幅来描写"孤独与爱情"。"每个人生来都是孤独的，这是个体化的残缺。我们更加的期盼着团聚-我需要你，需要他者，一个心魂的需要与另外的心魂相融合。孤独创造了爱情"没有爱情的人总会感觉人生空虚无聊，在这个世上生存必得要寻找一个与自己心魂相依的人，这样人生才能获得完整，而你的孤独才可以得到拯救。心中有爱就会在关注自己命运的同时去关照别人的生命，而在这爱中自己也就能获得心灵上的享受，体会生命的愉悦。

2.过程的享受

人必死的结局促使我们必须关注过程。"事实上你唯一具有的就是过程。一个只想使过程精彩的人是无法被剥夺的，因为死神也无法将一个精彩的过程变成一个不精彩的过程，因为坏运也无法阻挡你去创造一个精彩的过程。相反你可以把死亡也变成一个精彩的过程，相反坏运气更利于你去创造精彩的过程。于是绝境溃败了，他必然溃败。你立于目的的绝境却实现着、欣赏着、饱尝着过程的精彩，你便把绝境送上了绝境。梦想使你迷醉，距离就成了欢乐；追求使你充实，失败和成功都是伴奏" 史铁生认为只有专注于过程，死神才不具有诱惑力。史铁生在一种超脱结果的基础上证明过程的享受，当然专注过程，可是完美的天堂必然要存在着，否则人们便会失去希望，人们最幸福的事是取之不尽用之不竭的希望。"生命的意义就在于你创造这过程的美好和精彩，生命的价值就在于你能够镇静而又激动地欣赏这过程的美丽与悲壮。"这就是置之死地而后生了吧，知道远方是绝对的虚无，于是你甘愿放弃结果的角逐，甘愿去享受美妙的过程，于是过程把我们从死亡的恐惧中拯救出来了。

3.信仰

我们携罪而来，所以我们是来赎罪的，人太容易在实际中走失，驻足于路上的美景而忘了本来要去哪儿。而本来的去的地方根本可能只是个虚无，人如果只看到虚无他就是自己抛弃了自己，所以这信仰不是信他人，而只是信"信仰"，"人可以走向天堂，不可以走到天堂。走向意味着彼岸的成立。……精神的恒途……有神无神并不值得争论，但在命运的混沌指点，人唯有乞灵于自己的精神。不管我们信仰什么，都是我们自己的精神的描述和引导。 ""终于醒悟：每时每刻我们都是幸运的，因为任何灾难的前面都可能再加上一个'更'字……唯当求一份智慧，以醒贪迷……不断地苦难是不断信心的原因，这是信心的原则，不可稍有更动。……在没有光荣的路上，信心可要放弃么？以苦难去做福乐的投资，或以圣洁换取尘世的炫耀，都不是上帝对要要约伯的期待。……上帝不许诺光荣与福乐，但上帝保佑你的希望。人不可以逃避苦难，亦不可以放弃希望-恰是这样的意义上，上帝与你同在，这才是信仰的真意，是信者的路……真正的信心前面，其实是一片空旷，除了希望什么也没有，想要也没有……"史铁生认为看不见而信的人是有福的，人生在世总得信点什么，这是你维系与未来联系的精神支撑，任何人都可以选择撒手而去，可是生之艰辛在于我们要相信有一个美好的存在，不管是为了赎罪而来，还是为了更好而去，都要有一个信仰，这信仰之所以是信仰是因为和我们的现实总有那么一个距离牵扯你去仰望，去想着到达。不至于在绝境面前绝望。相信我们仰望的地方有我们终极想要到达的美好，我们永远在信仰的路上向前走，只是一种向往，并力求向着这个信仰靠近，我们在这寻求的过程中也找到了我们生存的意义。史铁生的信仰之路是灵魂的拯救之路，是过程，而不是终点。这困境既是苦海、惩罚、原罪，唯当求一份痴迷的信仰，刹那间清风朗月，入沐慈悲，于是你就得救了。

信仰爱情篇8

敬爱的党组织:许多论坛上曾经转载了一些外国评论文章，批评中国人没有自己的信仰，没错，我们不信基督不信佛不信真主，但是这并不代表我们没有信仰，相反我们的信仰是坚定的，我们信仰马克思唯物主义，信仰我们的****。经过这两次党课，对此我又有了更加深刻的认识。没有信仰的人是可悲的，是空虚的。从古到今，人们总在思考几个永恒的问题，寻求生存的奥义与自身存在的价值意义。我们活着究竟是为了什么？我们存在的意义何在？答案是信仰，它犹如一盏指路明灯又如同一个坚定的彼岸。没有信仰的人生犹如一艘夜航船，永远航行在黑暗的海面上没有方向没有目标没有灯塔的指引，永远无法到暗，只能湮灭在黑暗之中。信仰是我们生活的精神力量的源泉与支柱。而我们信仰的是科学的真理，是智慧，是马克思唯物主义，我们的理想社会，并且一代人又一代人的为之不懈努力奋斗。实现梦想到彼岸。作为这个国家的主人建设的接班人的我们，所要做的是坚定我们心中的信仰，明确自己的目标，齐心协力创造更加灿烂的明天，最大限度的实现自己人生的价值。为了我们的父辈，为了我们的子孙，为了我们自己，为了所有我们深爱着的人，深爱着的家园努力奋斗积极向上。坚信使我们更加坚定。这两次党课令我受益匪浅，使我更加坚定了自己的选择，明确了自己饿方向，有目的有计划的是自己成长为一名优秀的大学生，一名合格的党员。我想在接下来的时间李我哥哥要从思想上不断武装自己，提高自己的觉悟，行动上努力实践课堂上所学到的理论知识，全心全意为人民服务，做自己力所能及的事情帮助他人。做一个道德情操高烧的人，一个有理想有目标肯进步肯奋斗的青年。为成为一名合格党员不懈努力。