信仰爱情范文第1篇

高富帅是最好的通行证。作为天生会投胎的富二代，程锋的生活注定就是快乐逍遥的。他是女孩梦寐以求的“高富帅”的典型代表，在情场上也是所向披靡，直到他在火车站遇到好兄弟的女友沈冰，从此一见误终身，花花公子终于寻到真爱，并从此从良为情痴，为她改掉各种恶习，为她兄弟反目也在所不惜，能在好朋友面前将爱上兄弟女友这件事情说得大言不惭，也足够表明他的爱确实真诚，经得起各种考验。

石小猛――凤凰男：太渴望成功，用“情”作代价终后悔

都说嫁人不嫁凤凰男，看到石小猛，只会让人更加坚信这句话。其实，他聪明能干，他前途灿烂，如果能继续脚踏实地地奋斗，也是名副其实的潜力股。但他错就错在欲望太大，想一蹴而就，结果面对别人的威逼利诱，经过一番简单的权衡和挣扎就放弃了爱情，爱情成了他事业的铺路石。现实中这样的男生也不在少数。其实，身为凤凰男并不可怕，成不了富二代，可以成为富一代，只是太多人没怎么抗争就在现实面前败下阵来。

该剧的结尾处，亲朋好友都聚在一起看烟花吃年饭，唯独只有小猛独自一人喝醉在自己拼来的豪华别墅里，钱包里满满的钱，充满嘲讽。

吴 狄――稳重中产男：踏踏实实稳步向前，最纯真的爱情信仰

经济适用男最靠谱。吴狄不如疯子那般有钱有趣，也不如石小猛般充满斗志，但他却始终不紧不慢按他的方式生活。极好地证明了“钱不在多，够用就好，开心就好”的真理。虽然之前心爱的女友为了更好的物质条件弃他而去，但他并没有因此消沉，与女上司的爱情又是奋不顾身。看他对伍媚深情告白的那一段，句句充满真情，让人对不善言辞的他刮目相看。

他的爱情信念很让人佩服，虽然被金钱搅黄了第一段感情，但他依旧没有改变纯朴的世界观，依旧以“情”为大，对犯错的前女友和现任新女友都坦诚相待，丝毫没有受到金钱和利欲的污染。

吴 魏――钻石王老五：“大哥”的信仰很坚定

条件再好也有遗憾。单就条件来说，吴魏简直是完美无缺，要啥有啥了。但就是这样，在爱情上他也遭遇情伤，充分说明爱情不仅仅是光看物质的。很为吴魏弥留之际的日记所感动，之前没看出来，堪称事业狂的他对伍媚原来有着那样深沉的爱，可惜，他的事业心太重，一心拼搏事业的他最终败在了健康上。吴魏的结局对世人也有一定的警示作用。

邵华阳――蓝颜知己：我的信仰就是你的快乐，有一大药瓶子足矣。

他是中年优质男，没有帅气的脸庞，却有沉稳大气的气质。每当林夏不开心的时候，他及时扮演了垃圾桶和开导员，一次次带着林夏从各种伤痛中走出。看着这样一个斯文的中年男人陪着林夏做出那么多的疯狂举动，着实被感动，人生有这样一个蓝颜知己足矣。可惜，到后面还是免不了俗气，林夏差一点成为人人唾弃的小三，还好两人最终只是停留在知己的层面，不然这份美好又要幻灭了。

肥 四――普通青年：最普通的爱情，最平淡的幸福

信仰爱情范文第2篇

[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 p riest 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 l ove 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? Salaam ing 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 ca rdinal 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 e ndless 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 princi ple 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 rea lity, 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.

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信仰爱情范文第3篇

恋爱让我变成疯狂烤翅　莫大侠23岁前酒店员工

兄弟们都羡慕他找了一个勤快的女朋友：天冷了煲汤，天热了煲粥，连平时洗澡换下没来得及洗的衣服都被女友速速解决。朋友都看得口水滴嗒了，大侠却说： “不管什么样的女朋友都会有一个功能给你添堵。”女朋友虽然能干。但是脾气却比烧赤壁的那把火还要大，每次看到莫大侠衣服乱扔、碗不洗就会不停地教训他，弄得莫大侠像炭火上架着的疯狂烤翅。

女朋友毕竟不是朋友不是兄弟，作为她男朋友，让她高兴是分内的事情。除了请她下馆子、看电影、逛商场，还要看她的脸色，照顾她的情绪。那天他顿悟。两个人在一起不如一个人过。最后，女友被莫大侠懒得恋爱的态度气跑了，失恋后的莫大侠还真的考上了国家公务员，实现了自己具有里程碑意义的梦想，生活更加有滋味，从此也更加坚定了“爱情不过是美女脸上那颗朱砂痣，有没有都没关系”的爱情观念。

作者感言：莫大侠那样注重生活的质量，想享受爱情，却又时刻回避爱情带来的烦恼，他们奋斗、有理想是好事，年轻的时候把人生抱负当精神支柱，但日子长了可能会想：还是有个知冷知热的人好，想当年，有一份真诚的爱情曾经摆在我面前……

懒人遥控爱情　四两拨千金　柯柯　24岁　jeff 25岁　分居两地

柯柯和Jeff爱情发展得如火如荼的时候，两人已经在各自的地盘上混得有些起色了，高工资高福利的工作，以及那种事业上牛刀小试的春风得意，不是换个地头就能轻易找到的，所以，他们懒得挪窝，只愿意在相隔1000公里的两座城市郎情妾意。亲戚朋友对这样的遥控爱情都不看好，都认准了他俩迟早要分手。

哪晓得两人倒爱得顺风顺水，没隔两年，就“双双把证扯”，这时候，双方家人再怎么反对也动摇不了这情比金坚的跨省之恋了。于是，两边亲友团开始定期向两位准新人做思想动员，中心思想就是：无论是牺牲一边还是双方折中都好，反正两个人就是要在一起工作生活，这婚才结得稳当!结果双方见解一致地郑重宣布：“婚后保持现状!”

事实证明，两地分居不但没有造成他们感情的转淡，反而加深了对对方的依恋和尊重。恋爱时的感觉依旧存在，而各自事业的顺利发展也为对方的职场变化提供了更有价值的参考。

作者感言：不为了爱情改变自己和恋爱环境，居然也能收获甜蜜的生活，这种让多数情侣“闻风丧胆”的新生代爱情模式，在两位“懒人”的演绎下变得如此轻松而具有可操作性。简直是四两拨千金啊!

懒得恋爱　是为了更好地恋爱　木子21岁　模特

对于爱情，木子确实懒，周围异性不是没有，但都有言在先：不做兄弟就做姐妹，反正不谈恋爱。用她的话说就是：“一浪费时间，二浪费钱，三浪费精力，没事都要搞点事，累不累啊!”

信仰爱情范文第4篇

爱情、信仰、力量——这是我阅读《简·爱》的感受的关键词。

仿佛重新经历了一次爱情，当罗切斯特和他的客人们在桑菲尔德府聚会活动时，我也开始随着简的目光，不断寻找罗切斯特的身影，细细打量他的五官，揣摩他的内心。真的是“情人眼里出美人”，他虽不漂亮，性格急躁，主观，却浑身上下透出了活力、决断和意志，作为男人，这些特点远胜于漂亮。相比之下，他的英武帅气的朋友们反而显得不值一提。就在这一刻，简更加明确，她爱上了罗切斯特。而此时，罗切斯特也在试探简对他的感情，希望使简产生嫉妒，也能发疯似地同他相爱。随着简和罗切斯特的感情不断的进展并最终决定结婚，我在阅读中也感受到了那份兴奋、幸福……

仿佛，爱情的故事并总不是一番风顺。幸福来的太快，他们的爱情还需考验。罗切斯特小心翼翼隐瞒、一直担心的事情终于还是发生了，已婚且妻子还在世上的事实被发现，婚礼取消，简逃离桑菲尔德庄园。

在莫尔顿以及沼泽居的日子，简经历了身体与精神的双重洗礼。在获得财富和亲人的同时，依然无法忘却罗切斯特，不仅没有忘却，思念还与日俱增。远离桑菲尔德，她不但没有得到安宁，而是“失去了天堂而产生隐蔽而焦躁不安的悔恨”。我想，这悔恨就是简因为自己狠心抛下罗切斯特，让他独自承受痛苦而产生的。只有深深相爱，甚至爱对方胜于自己的人才会为自己的决定这样悔恨吧！也正是在艰难与独处中，她逐渐放下了自己一直顾及的自尊、独立和平等，一次次重新燃起回到罗切斯特身边度过一生的希望。圣·约翰表哥的求婚，冥冥中听到或感受到的罗切斯特的呼唤，更让她坚定了去看望爱人的决心。为此，她已等不及白昼的来临。

爱情的力量就在此，它让人快速成长、成熟，并忘记自己。简成长了，她变得成熟、自信，乐意为爱的人牺牲，不再纠结于地位、财产的对等。（当然，现在她也有了一笔可观的财富）。重新见到罗切斯特的那一刻，她毅然决定留下来，陪伴他，并明白了“一心跟世上我最喜爱的人生活，为他而生活”，她“无比幸福——幸福的难以言传，因为我完全是丈夫的生命，他也是我的生命。”看到此，我也幸福的难以言传。同时，我也在问自己一个问题：是否对自己的爱情全情投入？是否能够在做任何抉择时，首先考虑的是自己的爱人？我是否能够感受到难以言传的幸福？还有我的爱人呢，他是否也是如此感受？……

罗切斯特也变了。在简眼中，“他仿佛是被链条锁在栖木上的一头巨鹰，竟不得不乞求一只麻雀为它觅食”。他变得开始依赖简，开始不讨厌帮助，殊不知他原来是多么讨厌要人帮助啊！从只相信自己的力量，到承认上帝之手，并祈求上帝；开始由不屈服到变的顺从，这是多么大的反差！他戴着简留下的珍珠项链，作为对她的怀念。让我感受到了男人最温柔动人之处。他不再脾气暴躁、易怒、专横、高傲。为了爱的人，这种改变，也是一种成长吧。

欣喜的是，简和罗切斯特从此幸福生活，“他同我推心置腹，我同他无话不谈。我们的性格完全投合，结果彼此心心相印。”最重要的，罗切斯特一只眼睛的视力也恢复了。幸福划下了完美的句号。这也许就是爱情施力的结果吧。

不得不提，我在阅读中时刻感受到的信仰的力量。信仰可以让人视死如归。十三岁的海伦，因为有信仰，相信上帝，毫无保留地信任、依赖着上帝的力量。对于别人的误解、不公，她都可以真诚地宽恕。当面对死亡时，可以那么平静，甚至告诉简，她很愉快，并期待着那个重要时刻（死亡）的来临，因为可以逃脱大苦大难。能够如此大度、坦然，让我们汗颜。

圣·约翰也是一个持有强烈信仰的人。他对他的信仰怀有坚不可摧的坚贞。正如他自己所说：“我听从职责，一直注视着我的第一个目标——为上帝的荣誉而竭尽全力。我的主长期受苦受难，我也会这样。”他虽看似文静，但躯体里隐藏着一种热情。表面温顺，内心冷酷。简对和他在一起时的感受是：“他说话的时候我颤抖着。我感觉到他的影响透入我骨髓——他捆住了我的手脚。”由此可见，他强大的渗透力量。信仰可以让人如此有力量，让我震撼。

信仰爱情范文第5篇

一、信仰与责任

信仰是什么?《潜伏》中人人谈信仰,处处显信仰,却又时时在解构我们传统理念中的“信仰”。信仰可以是一种生活态度,可以是一种历史责任,也可以是一段感情寄托,还可以是一种价值选择。余则成既要隐藏自己的身份为共产党收集情报,又要在杀人不见血的官场之中左右逢源,在这条精彩的主线之外,再加上他与身份背景截然不同的假妻翠平之间的冲突磨合这条副线,让观众在体验我党情报工作的艰险之余,看到了英雄人物生活中的情感尴尬和道德坚守,而正是这种尴尬和坚守让我们的英雄人物步下神坛,使他们既具有了人情味与人性魅力,从而还原为活生生的“人”,更有可信度。

对于最初的余则成,很难确切地指出他的政治信仰是什么,他对左蓝说:“我信仰生活,我信仰你,就是这样。”他的革命信仰并不是简简单单、概念化地确立起来的,他是在历经了种种变故之后,才找到了自己的方向。重要的是,这种信仰一旦建立,他就把它变成为一种生命的责任,无论遭遇何种变故,都绝不改变。如同剧中叙述的那样,即使引领自己走向革命的爱人――左蓝不幸牺牲,余则成也绝不动摇自己的信仰,不放弃肩上的责任,而是变得更加成熟和坚定。

在《潜伏》中,余则成和翠平都是塑造很成功的人物。整部戏跌宕起伏,扣人心弦,惊心动魄,在危机四伏、一不小心就可能人头落地、血溅刑场的险恶环境里,男女主人公步步危机却最终转危为安、化险为夷,支撑他们的就是坚定的信念和追求。当然,这其中也包含着党组织对自己儿女的关心和保护,自始至终,我们都看到了一个强大的组织力量。《潜伏》向观众最真实地展现出那风雨如磐的黑夜中的人性灯塔和光辉,展现了人世间心灵中最美好最真实、最可讴歌的信念。黄沙吹尽始见金,他们坚信自己为之奋斗的是一个民主、自由、富强、繁荣的新国家,由此,生死不悔。诚如男主人公余则成所说,“什么都会变,只有信仰不会变”。为了同一个信仰,在一场没有硝烟的战场上默默斗争,我不得不佩服那个时候的共产党,他们给予那些战士的不是金钱与前途,而是信仰。对余则成来说,每一个战友的牺牲,都使他的信念更加坚定。《潜伏》在感动我们的同时,还告诉我们如何追求信仰以及信仰的价值,即,一个人有了信仰,可以抛弃一切私欲,包括牺牲自己的生命。

二、爱、忠诚与道德

《潜伏》里的所有主角都是为信仰而生,贯穿这部电视剧的主线也是信仰。而支撑这一信仰的重要动力则是爱与忠诚。《潜伏》在大量阅读史实、尊重史实的基础上,架构和借鉴了一个中国现代小说的经典模式,即“一男数女”或“一女数男”模式。在这一模式里,男女主人公或因信仰而生爱情,或因爱情而改变信仰,最终都成长为信仰坚定、爱情忠贞、恪守传统道德规范的无产阶级革命战士。左蓝是一名坚定的女战士;余则成也因为对爱情的执着和对政府自上而下腐败堕落的厌恶痛恨转而投入共产主义的怀抱,潜伏于虎穴深处,在黑暗中苦苦等待着黎明的到来;翠平也是因为信仰才与余则成扮演假夫妻,并在追求信仰、真理的过程中产生了真实的感情。晚秋因为对余则成的爱,宁愿自杀,也不愿揭穿真相。他们爱恨分明,怀着对爱情忠诚,进而对共产主义忠诚,有着能为之抛头颅洒热血的热情和执著。

对《潜伏》而言,忠诚既是每个主角都面临的最大考验,也是每个坚定的革命战士所必备的道德品质。核心人物余则成和翠平,在那个特定的环境里,为了完成革命任务和党的事业,假扮夫妻,在敌人的心脏和眼皮底下工作,来不得半点疏忽和丝毫闪失。但是,作为两个青春激荡和生命鲜活的男女,如何恪守的冲动和道德底线,又是今天的年轻人所无法想像的超人考验。这比克制物欲,把那三根金条隐藏在鸡窝里更难。对今天的现实而言,和物欲,几乎是考验当代共产党人特别是年轻的共产党干部的试金石。君不见,每年有多少年轻的干部,因为金钱腐败、男女生活不检点而丢了官位、进了牢房甚至搭上性命。

老一辈革命家所打下的江山和开创的事业,来之不易,任重道远。老一辈革命家在长期的革命斗争中积累的精神财富和树立的道德标尺,在今天以至未来,都是中华民族争取自强自立、发展生产力、创新科学技术、促进世界和平和人类进步的重要法宝。对于广大共产党人特别是年轻一代来说,更是须臾不能忘记更不能丢弃的看家本领和立身之本。

一部好的影视作品无疑是一本生动的教科书,人们可以从中吸取多种有教益的精神。翻开中国电影史,当年的“青春之歌”、“我们村的年轻人”、“闪闪的红星”等影片曾经激励了无数的青少年,使他们成为坚定的共产主义战士和社会主义的优秀建设者和接班人。就今天的社会现实来看,我们认为,《潜伏》对当代青少年的道德发展与教育发挥了以下作用:

第一,进一步强化了党的形象。问世间何为英雄?英雄者,是为民族利益、集体利益和历史进步做出超凡贡献的人。然而,每个时代都有自己时代的英雄,那是一个时代中华民族精神的旗帜和杰出的民族精神传承者。在《潜伏》的研讨会上,原中国文联副主席、重大革命和历史题材影视剧创作领导小组副组长李准夸赞《潜伏》时指出,“《潜伏》之所以成功,其实就是具备谍战剧的精神内核,这个内核就是历史选择了共产党。”《潜伏》阐述的崇高主题就是信仰的力量、向上的精神,这些都是社会主义核心价值体系所拥有的内涵。这在当下青少年普遍怀疑共产党的历史地位与现实意义、面临虚无主义的今天无疑具有重要的意义。

第二,信仰重建及其坚守。在当今这么一个浮躁的社会里,我们实在是太需要信仰,尤其是对于广大青少年来说,特别需要用信仰的力量来让浮躁的心灵找到自己精神的归属,建立自己的精神家园。[1]无论在什么时代,每个人都是需要信仰的。政治信仰直接决定着政治立场。一个正确的政治信仰也直接关系着一个人的精神支柱,关系着一个人一生的发展。从《潜伏》中渗透出来的对政治信仰的执著和忠诚也感动着电视机前的每一位观众,感染着每一个人。就如网友们说的一样,如果说《士兵突击》让人学会了坚持,《潜伏》则让人找到了坚持。

从这个意义上讲,《潜伏》是对文艺价值虚无主义思潮的有效批判。近年来,包括影视在内的一些文艺作品,否定崇高、正义、奉献等先进的价值观念,试图远离社会主义核心价值体系,表现为“去社会化”和“抽象化”等特征。“去社会化”是把人的精神价值追求“本能化”、“生理化”,使个体本能或生理需求超越社会历史的规定。“抽象化”是要抽空价值观的历史内容,掩盖价值观念的真正归属和特定利益群体的价值属性。[2]《潜伏》从正面回答了政治信仰与价值选择等困扰当代青少年的社会问题。

第三,政治信仰目标的先进性。在剧中,余则成因为爱,因为对政治日渐腐败的深刻认识和不满,继由转投共产党。应该说,这种转变,是符合人性复杂与历史真实的,这也符合道德发展的层次,尤其是对于他这种内部的知识分子而言。主流意识形态的影视剧采取这种叙述策略无疑是明智的,避免了生硬说教,将观众带入故事,让观众在情节演变之中感受英雄人物的伟大与理想信仰的崇高,在真实反映内部腐败的同时,让观众看到了彼时共产党在政治上的优势,这种优势得益于中国共产党政治信仰的先进性,得益于它代表了历史发展的方向,代表了包括劳苦大众在内的最广泛的人民大众的利益。这种先进性,也就是同志所总结、概括出来的“三个代表”重要思想。

在这样一种理论思维框架下,我们就可以找到李涯失败和毁灭的根本原因。作为的高级特工人员,李涯不能不说是精明能干、对极度忠诚,也不能不说是他没有信仰,甚至可以说,他的政治信仰非常坚定。遗憾的是,彼时的,已经是极其腐败,到了文武官员个个贪赃枉法的没落境地了。在政治上,不能顺应民心,挑起内战,推万民于水火,导致民众生灵涂炭,家破人亡,阻碍历史的发展,无任何先进性可言。而李涯却执迷不悟,孤意而行,焉能不败?

寓思想道德教育于观影娱乐,这既是中国影视生产和传播的传统,也是当代中国影视发展所必须坚守的策略。有人评论,《士兵突击》让人学会坚持,《潜伏》让人找到信仰。由此可见《潜伏》的叙事策略是成功的,其抓取的进步意义,符合时代精神。同时,该剧在观众群里所引发的强烈共鸣正是对所谓“国人无信仰说”的有力否定。由此也可以看出,当代青少年是有信仰的,只是这种信仰随着时代的变迁已经有了新的生存载体。具体而言,那就是科学发展观指导和统领下的以人为本,发展自我,爱党爱国,服务大众的价值观念和精神信仰。

参考文献:

[1] 易连云.重建学校精神家园[M].教育科学出版社.2003.