读《三个“虎崽”的故事》有感

　　读《三个“虎崽”的故事》有感

　　书是知识的源泉，书是跨越新时代。追住科学脚步的桥梁。书是人类最坦诚的朋友，是我们最忠诚的伙伴。然而，我从小就沉浸在书的海洋之中。我读过四大名着，安徒生童话等，而《三个“虎崽”的故事》在我的脑海里留下了深刻的烙印，把我深深的吸引住了。——是这本书让我意识到了保护地球，倡议人们保护地球，爱护大自然。这是一本我最喜爱的书，每次看见它都爱不释手。因为这本书的内容很吸引我。

　　这一本书讲述了一个叫虎崽的男孩和他家的猎犬，和一只小老虎的动人故事。小男孩虎崽的爸爸是个猎人，他的家里养了一只小狗也叫虎崽，男孩和小狗非常要好，小狗还几次救了小男孩的命。这年，村里成立了打虎队。小男孩和小狗上山玩，遇到了一只失去母亲的小老虎。小男孩一心决定要把小老虎就出来，在老师的指导下，决定采取行动救这一个小虎崽。小老虎被他们救到了，小老虎被带回了家，小男孩知道了它的妈妈就是被打虎队打死的。小男孩决定把小老虎送回山里，于是带着小狗去一起放生。他们遇见了虎王，把小虎崽给了它。过了几个月，秋收了，男孩上山去玩遇到了小虎崽，正当他们在一起玩得非常开心时一个男人来了并持枪打死了狗虎崽和小老虎。

　　读了这个故事，我感到了地球不是人类的私有财产，是生活在这颗已经很脆弱的星球上所有的生命的共同家园。对，我们要珍惜生命，敬畏生命，不要让包括小虎崽在内的华南虎的悲剧重演。www.330011.Com还要有勇气和力量去战胜自我。所以，我们应该保护动物，一起去装扮这个美好家园!对，生命是一点一滴流去的，就像河水是向一个正面流去的，再不会流向另一个方向;也像是时间，时间是不会倒流的，过了这一天，到了明天。再也不能回到昨天了。所以，我们必须得珍惜生命!我们的身边也有非常多关于珍惜生命的例子，例如：张海迪吧!她虽然5岁就患了脊髓病，胸以下全部瘫痪。可是，她并没有因此而放弃她自己的生命，用勇气和力量去战胜自我，挑战残酷的命运。一个女孩也能够这样去面对命运的挑战，这说明了什么?说明张海迪就是一个珍惜生命，敬畏生命的人。

　　一个人懂得生命的意义了，他就会具有生命最伟大的意义——无私奉献。生命给他一个宝贵的机会，而他又给予生命一个伟大的意义!他的事迹会被人们所传颂，他的思想值得人们学习，他的精神将会在人们的心中播种，生根，发芽，成长一棵参天大树。

　　是啊!生命那个就是一种无穷的力量!

　　生命是初生的无知，少年的纯真，青年的朝气，中年的稳健，老年的愤世嫉俗。

　　生命是母亲的慈爱，父亲的严厉，爱人的柔情，朋友的关切，是一切感情的组合体。

　　生命是夕阳衬落日，青松立峭壁，万里平沙落秋雁，三月阳春和白雪，是宝刀快马，金貂美酒，是孤月冷歌的漂泊。

　　生命是不倦的舞者，即使身戴镣铐，也要舞出生命的绚丽与悲壮。

　　生命是最可贵的，要学会保护自己，珍惜自己的生命，用有限的一生去为我们的祖国作出贡献!

　　读《三个火枪手》有感1000字

　　在古希腊人看，道德的伟大就在于对朋友有始终不渝的爱，对于敌人有不可磨灭的恨。

　　剑术超群的乡下青年达达尼安，为了成为火枪手，便带着父亲写的一封信，前往巴黎寻找国王的火枪卫队队长——德-特雷维尔——他的同乡。

　　在巴黎，性急而又天不怕地不怕的达达尼安先后与“冷面枪手”阿多斯、“红斗篷”波尔托斯、“美男子”阿拉密斯不打不相识，并与他们结下了不解之缘。

　　此后，他们又一同去拼命——为了王后奥地利安娜的名誉到英国伦敦给白金汉公爵送信，并取回那串价值连城的钻石项链;为了和平，又奉国王的命令参加了拉罗舍尔围城战......

　　期间，没有一个人喊苦，没有一个人叫屈，每一个人都是发自内心的开心。

　　莎士比亚说;“朋友间必须是患难相济，那才能说得上真正友谊。”

　　这句话放在这里真的是再恰当不过了，主人公达达尼安与他的好朋友——阿多斯、波尔托斯、阿拉密斯就是四个“有福同享，有难同当”的莫逆之交，生死朋友。谁有钱都拿出来大家花，遇到事情也一起行动。不管是出入枪林弹雨，还是拿着脑袋去冒险，每一个人都毫无怨言，甚至积极主动。

　　达达尼安多想当官，可当他拿到空白的火枪队副队长的委任令时，还是先去逐个请求了三个朋友的接受。在大家都拒绝，而阿多斯填上达达尼安的名字后，达达尼安禁不住流下了眼泪，说他今后再也没有朋友了。

　　世界上最美好的东西，莫过于有几个头脑和心地都很正直的朋友。

　　是啊，友谊多么珍贵啊!“万两黄金容易得，知心一个也难求。”我若能得到一份珍贵纯洁的友情，让我少活十年，我也干。

　　没有了友谊，哪会有高山流水的佳话?俞伯牙若没遇到知音——钟子期，也许早就摔琴了，也许早就因忧郁而见阎王了。

　　没有了友谊，哪会有管鲍之交的千古传奇?管仲若没遇到鲍叔牙这般知心朋友，这惟位有经天纬地之才、济世匡时之略，帮助齐桓公建立霸主地位的英雄，也许早就成了刀下之鬼了。

　　没有了友谊，哪去找《X宣言》的成就?谁来塑马克思与恩格斯的友情真谛?

　　友情被人比喻成“严冬里的炭火”、“酷暑里的浓荫”、“湍流中的踏脚石”，又被人誉为“世上唯一可以通心的良药”。这样美好的一种情感，谁不想得到呢?

　　孙中山与李大钊，舒伯特与贝多芬，契诃夫、柯罗连柯与高尔基......

　　哪一个彼此间不是圣洁的友情?

　　友情是至清至纯至美的，它像眼睛里容不得沙子一样容不得任何功利性的东西和一切虚假的，丑恶的东西。

　　我真得感谢大仲马，他通过《三个火枪手》告诉我，朋友是什么，友情是什么。

　　最后，请让我用伟大的别林斯基的话来结尾吧：

　　“真正的朋友不把友谊挂在口上，他们并不为了友谊而互相要求一点什么，而是彼此为对方做一切办得到的事。”

　　阿拉米斯，波尔托斯，阿多斯是三个火枪手，达达尼安开始是禁军，拉罗舍尔围城因表现突出才授予的火枪手。

　　《三个火枪手》英文读后感

　　Overall Summary

　　The Three Musketeers is a marvelous journey and should be appreciated foremost for its engaging story. The techniques Dumas employed to such success in 1840-- particularly his mastery of the form of the Romance--still work today.

　　As we saw in the closing portions of the book, Dumas gives us a fully developed Romance within his historical framework. He starts with levity and confidence, and ends with moroseness and doubt. The ending, indeed, seems to question many of the books dearly held values. D'Artagnan becomes a lieutenant in the Musketeers, but his promotion comes from the Cardinal--the Cardinal whom he and his four friends had fought so valiantly against for the first half of the novel. In the epilogue, d'Artagnan befriends the Comte de Rochefort, a Cardinalist agent. Was all that earlier fighting really worth it, then? Or was there something futile in all the Musketeers' efforts? Both the possibility of futility and this return to the normal at the end of a great Quest, characterize the form of the Romance as much as do its lighter aspects. Dumas sees the form through.

　　With Dumas's historical context in mind, the melancholy of the Romance becomes even more pronounced. It is almost as though Dumas presents this wonderful Romantic adventure, providing people with a chance to escape day to day toil and immerse themselves in better thoughts about their country, and then spurns it. He cannot bring himself to see the lie of Romanticism through to the end. Even bearing in mind that this turn to ambiguity is typical for the end of the Romance, it is hard not to interpret the ending of the novel as Dumas's rejection of Romantic values.

　　There are two sequels to The Three Musketeers, which Dumas wrote to capitalize on the success of the novel. They are entitled Vingt ans apres, published in 10 volumes in 1845, and Dix ans plus tard, ou le vicomte de Bragelonne, published in 26 parts from 1848-1850. The latter opens in 1660, and tells of a matured, powerful d'Artagnan, captain of the Musketeers. It also contains the account of Porthos's heroic death. But despite these sequels, Dumas never fully recaptured his success of 1844. His estate and his health declined until, after a period of furious attempted productivity to recoup his debts, he died in 1870. The Romance left his life as well.

　　But The Three Musketeers is not merely a Romance; it is also a great historical novel, and Dumas's interesting approach to history also contributes to the success of his book. While he keeps his characters away from being major players in national events, he is not afraid of brazenly attributing human motives to history. In Dumas's version, France and England very nearly fight a war simply because the Duke of Buckingham loves Anne of Austria: John Fenton assassinates Buckingham because of personal reasons provided by Milady, and so on. Part of the entertainment of The Three Musketeers is that, in seeming to avoid the great events and focus on petty affairs, Dumas explains the great events more satisfyingly and entertainingly than any direct explanation of affairs of state could hope to do. History does not have a face-- d'Artagnan has a face, and a handsome one at that.

　　Dumas's formula serves his story well. His incorporation of Romanticism into the historical novel lifted an entire genre of literature into public adulation, and gave the French people a story that reassured them about their country even as it brought them away from their country's troubles. Popular literature must be considered on two fronts: aesthetically and socially, as literature and as a popular artifact. The best popular literature, like the work of Alexandre Dumas, supercedes the latter category to come into our minds as a work of literature in its own right. It is not necessary to know about Dumas's life, or about French history, or about the genre of Romance, to enjoy The Three Musketeers. The superlative entertainment of the novel speaks for itself--which is why it remains so important and so interesting to study it.