堂吉诃德读后感英文

　　堂吉诃德读后感英文

　　What can anyone say about Don Quixote that hasn't been said? The book's been around for four hundred years, has inspired virtually every literary movement from the eighteenth-century picaresque to the most obscure works of twenty-first century postmodernism.

　　Don Quixote is one of the few books that merits casual references with the definite article （"The Quixote"）， and additionally is one of the few books to spawn a universally-recognized adjective （"quixotic"）。 How to even approach a book like Don Quixote, a book that has been, at some time or other, all things to all people? How to evaluate a cultural monolith? The simplest way, of course, is just to pay attention to the fact that Don Quixote, four hundred years after its initial publication, is still a hell of a read!

　　Sure, there are rough patches, yet: the mini-novels that interrupt the narrative of the first part for a hundred-odd pages would have been easy targets for some modern publisher's blue pencil, the long essays on arms or piety can ring strangely to reader sensibilities, the descriptions are sometimes a vague mess, and yet the basic story, the basic concept holds up.

　　It's hard to stay mad at Don Quixote: as frustrating as the plot can be at times, some archetypal lure lurks within the world of Cervantes's Spain, some magic that draws us in, much like the world of chivalry that continues to draw Quixote himself through the progressively more painful wringer of situations.

　　The concept of the novel is simple: Alonso Quijano, landowner from La Mancha, is obsessed with his library of chivalrous books. Driven mad by the inconsistencies of plot, character and philosophy that fill each volume of these seventeenth-century precursors to the fantasy novel, Quijano resolves to restore dignity to the lost profession of knight-errantry, assembles a rudimentary sword, suit of armor, and horse （the eternally-suffering-and-spavined Rocinante）， and sets out into Spain in his quest for glory.

　　In return for this act of hysterical faith, he finds violent innkeepers, malevolent thieves, cynical shepherds, sadistic nobility, and even （due to Avellaneda's false sequel to the book's first volume, one of the most famous pieces of fan-fiction ever written） an inferior （and, in the novel, invisible） Quixote impostor.

　　The first few scenes involve Quixote alone against the contemporary world, but before a hundred pages have elapsed Cervantes introduces Sancho Panza, Quixote's gullible, bloated and homily-spouting squire, who in conjunction with Quixote provides the spark for endlessly bizarre discussions in which Quixote's heightened, insane conception of the world is brought crashing to earth by Sancho's sly pragmatism （discussions which occasionally end with Quixote threatening to pummel Sancho in order to shut him up

　　Once joined together, it's very difficult to imagine Don Quixote and Sancho ever being split apart: the two are the original comic duo, locked into perpetually and mutually exclusive views of the world, and in and of themselves--whether Sancho is being asked to give himself hundreds of lashes in order to disenchant Quixote's swineherd love interest, Dulcinea, or whether Quixote is mixing a potion based on olive oil and bitter herbs that will, in theory, cure all of Sancho's Quixote-caused earthly wounds--the Knight and the Squire personifies the thematic conflict that propels the work.

　　In general, this is why Don Quixote remains one hell of a read--even today. The reader faces, in the same moment, an ideal view of the world （the world as enchanted, antiquated, idyllic） and the brutal facts of the actual world （the world as material, modern, loath to believe in knights.）

　　Quixote hacks at the belly of ogres in an inn basement, and is rewarded by a jet of wine in his face and a hefty bill for damages. He tries to rid the land of giants, and is spun, lance-first, by a powerful windmill he spears in the attempt. He attempts to liberate a statue of the Virgin Mary, which he believes to be a damsel in distress, from her captors, and in return is beaten up by priests.

　　Throughout, Sancho is there to say exactly what the reader is likely thinking--those aren't giants; Dulcinea isn't beautiful; none of this can be real--only to be rewarded with a lecture from Don Quixote about how he is beset by enchanters, who frustrate his every move by replacing the facts of his world, at the last moment, with devil's illusions that bear an uncomfortable resemblance to our own reality. It's a single joke repeated across a thousand pages, and yet it's strong enough to bring a laugh every time.

　　Quixote's insistence on his own madness in the face of innumerable arguments to the contrary, many of which take the form of cat scratches, cracked bones and missing teeth, makes him an interesting character because we know--or we think we know--that Quixote is just wrong. Yet, despite all of the pain he suffers in pursuit of that wrong, he continues to believe that he's right. So we read on page-after-page, waiting to see how much more the man who believes himself a knight is able to take before he gives in--whether, in the end, Quixote will give in at all.

　　We read not only for page-after-page, but for year-after-year, century-after-century, pulled by the cognitive dissonance that surrounds the knight like his own cloud of malicious enchanters. In the process, just as Quixote builds his castles from inns and criminal campfires, so we build castles of speculation from what we find in Cervantes's Spain, at once so brutally real and so dream-like, the realm of archetype and myth founded on dreary life. We, like Don Quixote, are driven to hallucinate by what might be, in the end, just a very good story.

　　With Don Quixote, Cervantes has accomplished an enduring act of literary alchemy: just as Quixote is combined with Sancho, so is fantasy combined with reality, the eternal with the everyday, and like the combination of matter and anti-matter, the explosion of aesthetic power is, in magnitude, infinite, propelling readers from the earth--at first facing inward at what was left behind on the page, then, forgetting the earth, outward into meaning--farther and farther toward the dream-like stars.

　　堂吉诃德英文读后感

　　"Don Quixote" in the novel the hero formerly known as Jiao Alun Suojihada is a township-kun, he read the then popular novel knights of society into the fan, and he is trying to imitate knight go Ranger. From his well-known antiquities in, find a pair of run-down incomplete armor, Don Quixote Delamanqia own name, but also identified a servant Sancho, and a neighboring village milking girl, named Du Erxiniya, as the service of a loved one whom his life. Then ride a skinny horse, away from home. Don Quixote is also, according to his mind the idea of the eccentric act to windmill as a giant, the sheep as the enemy, the victims of slave labor as a knight, a giant head as a wine bag, regardless of indiscriminate, hack chaos kill, sudden, many ridiculous things, his actions not only with people useless, and he is suffering a beating. After his last home bedridden, dying only understand the situation. He intestate, the only heir niece, such as married Knight, on the abolition of their right to inheritance.

　　At first glance, "Don Quixote", I think it's just a ridiculous vulgarity of making, ownership neurotic "brave spirit" of the performance of most vividly in the book, people increasingly despised him. But a careful look, and felt that the book implies a kind of truth. The nature of people's most basic goal is to own desperate to make it happen. In the realization of the process, who super-skinny like a root-like sorghum bachelor knight-errant, who Strange Alliance Pina gentleman, always reflecting his integrity, good nature, it is humanity's most noble spirit, because it is too simple, and only sudden, a number of jokes.

　　Miguel de Cervantes wrote "Don Quixote", the for the hit satire fabrications, the circumstances are bizarre people in the Knights of the novel and its adverse impact. Had intended to write a few short stories, was written was written, his own life experiences and ideals have written into their ideological content becomes richer and more realistic characters, until the Spanish society to the people portrayed disasters brought into Spain at that time that we understand and study the social, political, economic, cultural and customs of an encyclopedia. Miguel de Cervantes in "Don Quixote" in one hand and commented on the problems and expose and criticize the social evils on the one hand praised getting rid of punishing evil and promoting good, helping the poor and weak economic virtues, extolling the gold century style social ideals and goals . All these are common human feelings, it can pass through time and space, for every age, every nation has a sense of reality. Separated by four centuries later, is still moving forward to every reader. "Don Quixote" and appeared in nearly 700 personal objects, describe a very broad picture of life, true and comprehensive reflection of the late 16th century to the early 17th century Spain, the feudal social reality and expose the decline of the Kingdom of Spain is moving toward a variety of conflict, condemning the aristocratic class, shameless, weal and woe of the people expressed their deep sympathy. I thought: It is for this reason that prompted this work by the world in 54 countries and regions, 100 authors selected to become the best classic literature classics.

　　石头汤读后感（一）

　　三个和尚去寻找什么是幸福，到了一个村庄里，村民们不相信陌生人，也不相信自己的邻居。他们去敲村民们的门，可是没有人理他们，于是就开始煮石头汤了，这时有一个小女孩看到了，就和他们一起找石头，还把她们家的大锅拿来煮石头汤，村民们都感到特别奇怪，走出家门去看看石头汤到底怎么煮。阿福说放点调料才会更香，村民们陆陆续续的把家里的好吃的拿出来煮石头汤，汤煮好了，大家坐在一起吃，村民们都很高兴。

　　他们找到了幸福，幸福就像煮石头汤，村民们也明白了分享使人更加富足。

　　光用石头是不能煮出好喝的汤来的，好东西一个人吃是吃不出香甜的，只有大家一起分享才会快乐。

　　石头汤读后感（二）

　　这个故事是我在寓言故事书上看到的。

　　故事讲的是，一个穷人到富人家门前要饭，那家的仆人很讨厌要饭的，就冷冷的拒绝了他。穷人故意装出一副可怜得样子，恳求仆人让他把小锅借给他煮一些石头汤喝。听说石头还能煮汤，仆人觉得很惊奇，他想看看穷人怎样煮石头汤，就把锅借给了他。穷人马上找了一块石头，放在锅里煮了起来。刚煮了一会他又向仆人要了一些盐，仆人又给了穷人一些盐。

　　接下来，穷人又从仆人手里要来了香菜，薄荷，还有一些碎肉末。穷人把这些东西统统放在锅里煮了起来。汤煮好后，穷人把石头从锅里捞出来扔掉，美滋滋的喝起了实际上是肉汤的石头汤。

　　我感受到，面对困难，只有开动脑筋，才能想出好的办法，解决问题。

　　石头汤读后感（三）

　　文/申凯元

　　今天，我看了一本非常有趣的绘本故事：《石头汤》。

　　在这个故事中，有三个士兵刚打完仗，三天三夜没吃东西，肚子饿极了。他们走到了一个亮着灯的小村庄，希望能找到吃的东西和住的地方。可是，这个村庄里的人们并不欢迎陌生人，他们各自把自己家里好吃的食物分别藏了起来，有胡萝卜、土豆、卷心菜、肉和牛奶等等。

　　士兵们猜到了村民们的想法，商量出一个稀奇古怪的好办法——煮石头汤。村民们好奇极了，为了尝到从没吃过的石头汤，(www.lzdaxue.com)村民们为士兵们搬来了大锅，还拿出了藏起来的美食做调料。这样，一锅美味无比的石头汤就做好了，村民们美美地吃了一顿。他们热情地接待了这三位士兵住下，感谢他们让自己尝到这辈子从没品尝过的美味——石头汤。

　　这真是太有意思啦！从这个故事中，我体会到了做人不能太自私，如果好东西不和别人分享，就品尝不到快乐的滋味。我以后一定要做一个爱分享的快乐的孩子！

　　石头汤读后感（四）

　　“什么使人幸福，我们去找找！”读了《石头汤》中的这句话后，爷爷带着我去找幸福。

　　我们找到了华盖山中的大广场，这里挤满了老人，他们谈论国内外的新闻，街头巷尾的趣事，他们的声音像蜜蜂一样地飞来飞去，看着他们那样投入，那样专注，那样快乐！老人们能欢聚在一堂，谈天论地，他们很幸福！

　　我们找到了松台广场，已经到了吃午饭的时候，可是一对对的中年男女还在那里跳舞！看着他们优雅的舞步，看着他们欢乐的表情，忘记了吃饭，他们很幸福！

　　我们找到了图书馆的亲子室，看到明亮的房间，看到那一排排的书架，看到妈妈一字一句给儿子讲解书中的故事，看到爸爸牵着女儿的手找好书看，看到奶奶和爷爷教孙儿女读书，他们很幸福！

　　但这些幸福怎能和三个和尚比呢？他们用石头汤，唤醒了一个饱经磨难，互不信任的村庄！小女孩送来了三块石头和一个大锅，秀才送来了盐和胡椒粉，左邻右舍送来了胡萝卜、洋葱、带来了新鲜的蘑菇、面条、豌豆荚、卷心菜……大家一起欢宴。

　　《石头汤》使我明白了，创造幸福的人最难能可贵！世界太需要阿寿、阿福、阿禄这样的人了！当一个人为幸福付出时，下一个人就会付出更多，幸福是有非常的感染力的！幸福越大！人群越多。让我们长大后当一个创造幸福的人吧！让我们把幸福像种子一样播向全世界吧！让所有的人都幸福吧！