英語電影台詞老人與海

A. 求一些英語電影里的經典台詞

電影中，角色演繹的是電影里的人生，但台詞，卻說出了我們每個人的故事。

所以有人說「台詞，是電影的精華！透過它，我們才能領悟電影的真諦。」

台詞，還是文化背景的縮影，它有那種「一句話，就能說透一個時代」的力量。

台詞，是對生活的洞察、對生命的詮釋，也是給我們希望的強心劑。

所以今天鯨寶為大家帶來了一些出自經典電影的經典台詞，也許它們能在你迷茫或困頓的時候，給你帶去希望。

兄弟連

Band of Brothers

▌You played put your happiness, but on a piano that was not infinite! I learned to live that way.

在有限的鋼琴上，我自得其樂，我過慣那樣的日子。

▌But 2000 people at a time, and there were wishes here.

這艘船每次只載客兩千，既載人，又載夢想。

B. ：「一個人不是生來就要被打敗的，你可以被毀滅，但不可以被打敗。」求這句話在《老人與海》的英文原版！

A man is not born to fail.
One can be destoryed, but not defeated
剛剛只是憑著記憶寫上去的，剛剛翻了書看看如下：
「But man is not made for defeat,」 he said. 「A man can be destroyed but not defeated.」

C. 請提供假如給我三天光明，麥田裡的守望者，老人與海的原版英文經典語句

最喜歡這一段

Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.
by Hellen Keller

以下是全文

假如給我三天光明(海倫·凱勒 Helen Keller)

All of us have read thrilling stories in which the hero had only a limited and specified time to live. Sometimes it was as long as a year; sometimes as short as twenty-four hours. But always we were interested in discovering just how the doomed man chose to spend his last days or his last hours. I speak, of course, of free men who have a choice, not condemned criminals whose sphere of activities is strictly delimited.
Such stories set us thinking, wondering what we should do under similar circumstances. What events, what experiences, what associations should we crowd into those last hours as mortal beings? What happiness should we find in reviewing the past, what regrets?

Sometimes I have thought it would be an excellent rule to live each day as if we should die tomorrow. Such an attitude would emphasize sharply the values of life. We should live each day with a gentleness, a vigor, and a keenness of appreciation which are often lost when time stretches before us in the constant panorama of more days and months and years to come. There are those, of course, who would adopt the Epicurean motto of "Eat, drink, and be merry," but most people would be chastened by the certainty of impending death.

In stories the doomed hero is usually saved at the last minute by some stroke of fortune, but almost always his sense of values is changed. he becomes more appreciative of the meaning of life and its permanent spiritual values. It ahs often been noted that those who live, or have lived, in the shadow of death bring a mellow sweetness to everything they do.

Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.

The same lethargy, I am afraid, characterizes the use of all our faculties and senses. Only the deaf appreciate hearing, only the blind realize the manifold blessings that lie in sight. Particularly does this observation apply to those who have lost sight and hearing in alt life. But those who have never suffered impairment of sight or hearing seldom make the fullest use of these blessed faculties. Their eyes and ears take in all sights and sounds hazily, without concentration and with little appreciation. It is the same old story of not being grateful for what we have until we lose it, of not being conscious of health until we are ill.

I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time ring his early alt life. Darkness would make him more appreciative of sight; silence would tech him the joys of sound.

Now and then I have tested my seeing friends to discover what they see. Recently I was visited by a very good friends who had just returned from a long walk in the woods, and I asked her what she had observed.. "Nothing in particular, " she replied. I might have been increlous had I not been accustomed to such reposes, for long ago I became convinced that the seeing see little.
How was it possible, I asked myself, to walk for an hour through the woods and see nothing worthy of note? I who cannot see find hundreds of things to interest me through mere touch. I feel the delicate symmetry of a leaf. I pass my hands lovingly about the smooth skin of a silver birch, or the rough, shaggy bark of a pine. In the spring I touch the branches of trees hopefully in search of a bud the first sign of awakening Nature after her winter's sleep. I feel the delightful, velvety texture of a flower, and discover its remarkable convolutions; and something of the miracle of Nature is revealed to me. Occasionally, if I am very fortunate, I place my hand gently on a small tree and feel the happy quiver of a bird in full song. I am delighted to have the cool waters of a brook rush thought my open finger. To me a lush carpet of pine needles or spongy grass is more welcome than the most luxurious Persian rug. To me the page ant of seasons is a thrilling and unending drama, the action of which streams through my finger tips.

At times my heart cries out with longing to see all these things. If I can get so much pleasure from mere touch, how much more beauty must be revealed by sight. Yet, those who have eyes apparently see little. the panorama of color and action which fills the world is taken for granted. It is human, perhaps, to appreciate little that which we have and to long for that which we have not, but it is a great pity that in the world of light the gift of sight is used only as a mere conveniences rather than as a means of adding fullness to life.

If I were the president of a university I should establish a compulsory course in "How to Use Your Eyes". The professor would try to show his pupils how they could add joy to their lives by really seeing what passes unnoticed before them. He would try to awake their dormant and sluggish faculties.

Perhaps I can best illustrate by imagining what I should most like to see if I were given the use of my eyes, say, for just three days. And while I am imagining, suppose you, too, set your mind to work on the problem of how you would use your own eyes if you had only three more days to see. If with the on-coming darkness of the third night you knew that the sun would never rise for you again, how would you spend those three precious intervening days? What would you most want to let your gaze rest upon?

I, naturally, should want most to see the things which have become dear to me through my years of darkness. You, too, would want to let your eyes rest on the things that have become dear to you so that you could take the memory of them with you into the night that loomed before you.

If, by some miracle, I were granted three seeing days, to be followed by a relapse into darkness, I should divide the period into three parts.

The First Day

On the first day, I should want to see the people whose kindness and gentleness and companionship have made my life worth living. First I should like to gaze long upon the face of my dear teacher, Mrs. Anne Sullivan Macy, who came to me when I was a child and opened the outer world to me. I should want not merely to see the outline of her face, so that I could cherish it in my memory, but to study that face and find in it the living evidence of the sympathetic tenderness and patience with which she accomplished the difficult task of my ecation. I should like to see in her eyes that strength of character which has enabled her to stand firm in the face of difficulties, and that compassion for all humanity which she has revealed to me so often.

I do not know what it is to see into the heart of a friend through that "Window of the soul", the eye. I can only "see" through my finger tips the outline of a face. I can detect laughter, sorrow, and many other obvious emotions. I know my friends from the feel of their faces. But I cannot really picture their personalities by touch. I know their personalities, of course, through other means, through the thoughts they express to me, through whatever of their actions are revealed to me. But I am denied that deeper understanding of them which I am sure would come through sight of them, through watching their reactions to various expressed thoughts and circumstances, through noting the immediate and fleeting reactions of their eyes and countenance.

Friends who are near to me I know well, because through the months and years they reveal themselves to me in all their phases; but of casual friends I have only an incomplete impression, an impression gained from a handclasp, from spoken words which I take from their lips with my finger tips, or which they tap into the palm of my hand.

How much easier, how much more satisfying it is for you who can see to grasp quickly the essential qualities of another person by watching the subtleties of expression, the quiver of a muscle, the flutter of a hand. But does it ever occur to you to use your sight to see into the inner nature of a friends or acquaintance/ Do not most of you seeing people grasp casually the outward features of a face and let it go at that?

For instance can you describe accurately the faces of five good friends? some of you can, but many cannot. As an experiment, I have questioned husbands of long standing about the color of their wives' eyes, and often they express embarrassed confusion and admit that they do not know. And, incidentally, it is a chronic complaint of wives that their husbands do not notice new dresses, new hats, and changes in household arrangements.

The eyes of seeing persons soon become accustomed to the routine of their surroundings, and they actually see only the startling and spectacular. But even in viewing the most spectacular sights the eyes are lazy. Court records reveal every day how inaccurately "eyewitnesses" see. A given event will be "seen" in several different ways by as many witnesses. Some see more than others, but few see everything that is within the range of their vision.

Oh, the things that I should see if I had the power of sight for just three days!

The first day would be a busy one. I should call to me all my dear friends and look long into their faces, imprinting upon my mind the outward evidences of the beauty that is within them. I should let my eyes rest, too, on the face of a baby, so that I could catch a vision of the eager, innocent beauty which precedes the indivial's consciousness of the conflicts which life develops.

And I should like to look into the loyal, trusting eyes of my dogs - the grave, canny little Scottie, Darkie, and the stalwart, understanding Great Dane, Helga, whose warm, tender , and playful friendships are so comforting to me.
On that busy first day I should also view the small simple things of my home. I want to see the warm colors in the rugs under my feet, the pictures on the walls, the intimate trifles that transform a house into home. My eyes would rest respectfully on the books in raised type which I have read, but they would be more eagerly interested in the printed books which seeing people can read, for ring the long night of my life the books I have read and those which have been read to me have built themselves into a great shining lighthouse, revealing to me the deepest channels of human life and the human spirit.

In the afternoon of that first seeing day. I should take a long walk in the woods and intoxicate my eyes on the beauties of the world of Nature trying desperately to absorb in a few hours the vast splendor which is constantly unfolding itself to those who can see. On the way home from my woodland jaunt my path would lie near a farm so that I might see the patient horses ploughing in the field 9perhaps I should see only a tractor!) and the serene content of men living close to the soil. And I should pray for the glory of a colorful sunset.

When sk had fallen, I should experience the double delight of being able to see by artificial light which the genius of man has created to extend the power of his sight when Nature decrees darkness.

In the night of that first day of sight, I should not be able to sleep, so full would be my mind of the memories of the day.

The Second Day

The next day - the second day of sight - I should arise with the dawn and see the thrilling miracle by which night is transformed into day. I should behold with awe the magnificent panorama of light with which the sun awakens the sleeping earth.

This day I should devote to a hasty glimpse of the world, past and present. I should want to see the pageant of man's progress, the kaleidoscope of the ages. How can so much be compressed into one day? Through the museums, of course. Often I have visited the New York Museum of Natural History to touch with my hands many of the objects there exhibited, but I have longed to see with my eyes the condensed history of the earth and its inhabitants displayed there - animals and the races of men pictured in their native environment; gigantic carcasses of dinosaurs and mastodons which roamed the earth long before man appeared, with his tiny stature and powerful brain, to conquer the animal kingdom; realistic presentations of the processes of development in animals, in man, and in the implements which man has used to fashion for himself a secure home on this planet; and a thousand and one other aspects of natural history.

I wonder how many readers of this article have viewed this panorama of the face of living things as pictured in that inspiring museum. Many, of course, have not had the opportunity, but I am sure that many who have had the opportunity have not made use of it. there, indeed, is a place to use your eyes. You who see can spend many fruitful days there, but I with my imaginary three days of sight, could only take a hasty glimpse, and pass on.

My next stop would be the Metropolitan Museum of Art, for just as the Museum of Natural History reveals the material aspects of the world, so does the Metropolitan show the myriad facets of the human spirit. Throughout the history of humanity the urge to artistic expression has been almost as powerful as the urge for food, shelter, and procreation. And here , in the vast chambers of the Metropolitan Museum, is unfolded before me the spirit of Egypt, Greece, and Rome, as expressed in their art. I know well through my hands the sculptured gods and goddesses of the ancient Nile-land. I have felt copies of Parthenon friezes, and I have sensed the rhythmic beauty of charging Athenian warriors. Apollos and Venuses and the Winged Victory of Samothrace are friends of my finger tips. The gnarled, bearded features of Homer are dear to me, for he, too, knew blindness.

My hands have lingered upon the living marble of roman sculpture as well as that of later generations. I have passed my hands over a plaster cast of Michelangelo's inspiring and heroic Moses; I have sensed the power of Rodin; I have been awed by the devoted spirit of Gothic wood carving. These arts which can be touched have meaning for me, but even they were meant to be seen rather than felt, and I can only guess at the beauty which remains hidden from me. I can admire the simple lines of a Greek vase, but its figured decorations are lost to me.

So on this, my second day of sight, I should try to probe into the soul of man through this art. The things I knew through touch I should now see. More splendid still, the whole magnificent world of painting would be opened to me, from the Italian Primitives, with their serene religious devotion, to the Moderns, with their feverish visions. I should look deep into the canvases of Raphael, Leonardo da Vinci, Titian, Rembrandt. I should want to feast my eyes upon the warm colors of Veronese, study the mysteries of E1 Greco, catch a new vision of Nature from Corot. Oh, there is so much rich meaning and beauty in the art of the ages for you who have eyes to see!

Upon my short visit to this temple of art I should not be able to review a fraction of that great world of art which is open to you. I should be able to get only a superficial impression. Artists tell me that for deep and true appreciation of art one must ecated the eye. One must learn through experience to weigh the merits of line, of composition, of form and color. If I had eyes, how happily would I embark upon so fascinating a study! Yet I am told that, to many of you who have eyes to see, the world of art is a dark night, unexplored and unilluminated.

It would be with extreme reluctance that I should leave the Metropolitan Museum, which contains the key to beauty -- a beauty so neglected. Seeing persons, however, do not need a metropolitan to find this key to beauty. The same key lies waiting in smaller museums, and in books on the shelves of even small libraries. But naturally, in my limited time of imaginary sight, I should choose the place where the key unlocks the greatest treasures in the shortest time.
The evening of my second day of sight I should spend at a theatre or at the movies. Even now I often attend theatrical performances of all sorts, but the action of the play must be spelled into my hand by a companion. But how I should like to see with my own eyes the fascinating figure of Hamlet, or the gusty Falstaff amid colorful Elizabethan trappings! How I should like to follow each movement of the graceful Hamlet, each strut of the hearty Falstaff! And since I could see only one play, I should be confronted by a many-horned dilemma, for there are scores of plays I should want to see. You who have eyes can see any you like. How many of you, I wonder, when you gaze at a play, a movie, or any spectacle, realize and give thanks for the miracle of sight which enables you to enjoy its color , grace, and movement?

I cannot enjoy the beauty of rhythmic movement except in a sphere restricted to the touch of my hands. I can vision only dimly the grace of a Pavlowa, although I know something of the delight of rhythm, for often I can sense the beat of music as it vibrates through the floor. I can well imagine that cadenced motion must be one of the most pleasing sights in the world. I have been able to gather something of this by tracing with my fingers the lines in sculptured marble; if this static grace can be so lovely, how much more acute must be the thrill of seeing grace in motion.

One of my dearest memories is of the time when Joseph Jefferson allowed me to touch his face and hands as he went through some of the gestures and speeches of his beloved Rip Van Winkle. I was able to catch thus a meager glimpse of the world of drama, and I shall never forget the delight of that moment. But, oh, how much I must miss, and how much pleasure you seeing ones can derive from watching and hearing the interplay of speech and movement in the unfolding of a dramatic performance! If I could see only one play, I should know how to picture in my mind the action of a hundred plays which I have read or had transferred to me through the medium of the manual alphabet.

D. 在英語電影中的經典台詞，一共需要五部電影，每部電影五句，謝謝 如果英文的，找不到也可以給我中文的

A man can be destroyed but not defeated.
一個人可以被毀滅，卻不能被打敗。《老人與海》

Love means never having to say you ＇ re sorry.
愛就是永遠不必說對不起。《愛情故事》

Life was like a box of chocolates, you never know what you』re gonna get.
生命就像一盒巧克力，結果往往出人意料 . 《阿甘正傳》

Death is just a part of life, something we're all destined to do.
死亡是生命的一部分，是我們註定要做的一件事。《阿甘正傳》

If the people we love are stolen from us, the way to have them live on, is to remember them. Building burn, people die, but real love is forever. —— The Crow
如果我們所愛的人從我們身邊被偷走，要使他們繼續留在我們身邊，就要記住他們。建築會被焚毀，人會死去，而真愛永存。《烏鴉》

E. 經典英語台詞有哪些

A man can be destroyed but not defeated.
一個人可以被毀滅，卻不能被打敗。《老人與海》

Love means never having to say you ＇ re sorry.
愛就是永遠不必說對不起。《愛情故事》

Life was like a box of chocolates, you never know what you』re gonna get.
生命就像一盒巧克力，結果往往出人意料 . 《阿甘正傳》

Death is just a part of life, something we're all destined to do.
死亡是生命的一部分，是我們註定要做的一件事。《阿甘正傳》

If the people we love are stolen from us, the way to have them live on, is to remember them. Building burn, people die, but real love is forever. —— The Crow
如果我們所愛的人從我們身邊被偷走，要使他們繼續留在我們身邊，就要記住他們。建築會被焚毀，人會死去，而真愛永存。《烏鴉》

Anakin, this path has been placed before you. The choice is yours alone.
阿納金，路就在你腳下，你自己決定。《星球大戰－首部曲》

I love waking up in the morning and not knowing what』s going to happen, or who I』m going to meet, where I』m going to wind up.
我喜歡早上起來時一切都是未知的 , 不知會遇見什麼人 , 會有什麼樣的結局。《泰坦尼克號》

Tell our enemies that they may take our lives, but they'll never take our Freedom!
告訴敵人，他們也許能奪走我們的生命，但是，他們永遠奪不走我們的自由！《勇敢的心》

I』m only brave when I have to be. Being brave doesn』t mean you go looking for trouble. —— The Lion King
我只是在必要的時候才會勇敢，勇敢並不代表你要到處闖禍。《獅子王》

In spite of you and me and the whole silly world going to pieces around us, I love you. —— Gone with The Wind
哪怕是世界末日我都會愛著你 . 《亂世佳人》

We become the most familiar strangers.
我們變成了世上最熟悉的陌生人。《亂世佳人》

It takes a strong man to save himself, and a great man to save another. —— The Shawshank Redemption
堅強的人只能救贖自己，偉大的人才能拯救他人。《肖申克的救贖》

Land is the only thing in the world worth working for, worth fighting for, worth dying for, because it』s the only thing that lasts.
土地是世界上唯一值得你去為之工作 , 為之戰斗 , 為之犧牲的東西 , 因為它是唯一永恆的東西。《亂世佳人》

I figure life is a gift and I don』t intend on wasting it. You never know what hand you』re going to get dealt next. You learn to take life as it comes at you.
我覺得生命是一份禮物 , 我不想浪費它 , 你不會知道下一手牌會是什麼 , 要學會接受生活。《泰坦尼克》

Everything that has a begin has an end.
世間萬物有始皆有終。《黑客帝國》

Frankly ， my dear ， I don ＇ t give a damn.
坦白說，親愛的，我一點也不在乎。（《亂世佳人》

You

F. 老人與海裡面的經典台詞（英文的）

A man can be destroyed but not defeated.
人可以被毀滅但是不能被打敗

G. 英文版《老人與海》中的經典英語句子,不要長,要有翻譯和知識點,越多越好

1.「But a man is not made for defeat.A man can be destroyed but not defeated.」
人不是為失敗而生的.一個人可以被毀滅,但不能給打敗
2.But,then,nothing is easy.
不過話得說回來,沒有一樁事是容易的.
3.It is silly not to hope,he thought.
人不抱希望是很傻的.
4.Now is no time to think of what you do not have.Think of what you can do with what there is.
現在不是去想缺少什麼的時候,該想一想憑現有的東西你能做什麼
5.But none of these scars were fresh.They were as old as erosions in a fishless desert.Everything about him was old except his eyes and they were the same color as the sea and were cheerful and undefeated.
但是這些傷疤中沒有一塊是新的.它們像無魚可打的沙漠中被侵蝕的地方一般古老.他身上的一切都顯得古老,除了那雙眼睛,它們像海水一般藍,是愉快而不肯認輸的.
6.As the sun rose he saw other boats in toward shore,which was only a low green line on the sea.
陽升起時,他看到別的一些船隻都頭朝著海岸,在海上看來海岸象是一條接近地平線的綠帶子.
這幾句還不算太長,
喜歡請採納吧

H. 老人與海精彩語段

老人與海精彩語段：

1、生活總是讓我們遍體鱗傷，但到後來，那些受傷的地方一定會變成我們最強壯的地方。——海明威《老人與海》

2、一個人可以被毀滅，但不能被打敗。——海明威《老人與海》

9、人不是生來就要被打敗的。——海明威《老人與海》

10、但是這些傷疤中沒有一塊是新的，它們像無魚可打的沙漠中被侵蝕的地方一般古老。他身上的一切都顯得古老，除了那雙眼睛，它們像海水一般藍，是愉快而不肯認輸的。——海明威《老人與海》

11、年歲是我的鬧鍾。——海明威《老人與海》

12、陸地上空的雲塊這時候像山岡般聳立著，海岸只剩下一長條綠色的線，背後是些灰青色的小山，海水此刻呈現藍色，深的簡直發紫了。——海明威《老人與海》

I. 老人與海中老人說過的經典的話（英文原話）

你把長句子分為幾個短句不就行了。。。^_^

「人是不怕打敗的,只怕打垮。」
「人生來就不是為了被打敗的，人能夠被毀滅，但是不能夠被打敗。」（最經典的一句）
「老人右手高舉著鋼叉，在它躍出水面的一瞬間，竭盡全力地向它的心臟擲去，一聲哀鳴結束了大魚的生命，它靜靜地浮在水面上……」
「想點兒開心事吧！老傢伙」他說：每過一分鍾，你就離家近一步，丟了四十磅魚肉你航行起來更輕快了。
他不再夢見風暴，不再夢見婦女們，不在夢見偉大的事件，不再夢見大魚，不再夢見打架，不在夢見角力，不再夢見他的妻子。
他如今只夢見一些地方和海灘上的獅子。它們在暮色中像小貓一般戲耍著，他愛它們，如同愛這孩子一樣

魚啊，』他輕輕地說出聲來，『我和你奉陪到死。』
它們（傷疤）象無魚可打的沙漠中被侵蝕的地方一般古老。
他身上的一切都顯得古老，除了那雙眼睛，它們象海水一般藍，是愉快而不肯認輸的。
他夢見那長長的黃色海灘，看見第一頭獅子在傍晚時分來到海灘上，接著其他獅子也來了，意識他把下巴擱在船頭的模板上，船拋下了錨停泊在那裡，晚風吹著海面，他等著看有沒有更多的獅子來，感到快樂。
在大路的另一頭老人的窩棚里，他又睡著了。他依舊臉朝下躺著，孩子坐在他身邊，守著他。老人正夢見獅子。
「然而這是不公平的，他想。不過我要讓他知道人有多少能耐，人能忍受多少磨難。
『我和那孩子說過來著，我是個不同尋常的老頭兒，』他說。『現在是證實這話的時候了。』
他已經證實過上千回了，這算不上什麼。眼下他正要再證實一回。每一回都四重新開始，他這樣做的時候，從來不去想過去。」
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You put a long sentence divided into several phrases not on the line. . . _ ^ ^

"People are not afraid of defeat, I am afraid crush."
"Life is not to in order to be defeated, can be destroyed, but can not be defeated." (The classic one)
"Gangcha the elderly in his right hand held high, it Yuechu surface in the moment, to make every effort to throw to the heart of it, the end of the big fish out the whine of life, it quietly floating in the water……"
"Happy to little things! Old guy," he said: every one minute, you closer to home, lost 40 pounds fish you voyage to the more lighthearted.
He no longer dreamed turmoil, the women no longer dream, the dream is not great, no longer dreamed big fish, no longer dreamed fighting, not dreamed wrestling, no longer dreamed of his wife.
Now he only dreamed of some localities and the lions on the beach. In the twilight of their general Xishua like a kitten, he loved them, as this child the same love

Fish ah, 'he said gently Chusheng,' and I Fengpei you to death. '
They (scar) as a fish to play in the erosion of desert where the ancient general.
He was all the more ancient, in addition to Nashuang eyes, as they generally blue sea, is the happy and refused to admit defeat.
He dreamed that the long yellow beach, the first head to see the lion in the evening came to the beach, and then also to the other lions, his sense of the chin left the template in the bow, the ship anchored into the parked there, Wanfeng blowing off, he has no more waiting to see the lion to feel happy.
The other end of the main roads in the elderly Wopeng, he fell asleep. He still facing lying under, the children sitting next to him, he Shouzhuo. The elderly are dreamed Lions.
"But this is not fair, he would like to, but I let him know how many people capability, the number of people to enre hardships.
'And I said that from a child, I was an unusual Lao Touer,' he said. 'Now is the time to confirm this,. '
He has been confirmed to have more than 1,000, is not really what. Now he just another confirmation of a return. Each time the four have re-started, he doing so, has never been not to think about the past. "

J. 《老人與海》經典語錄是什麼

1、一個人可以被毀滅，但不能被打敗。

2、現在不是去想缺少什麼的時候，該想一想憑現有的東西你能做什麼。

3、人生本來就是一種無止境的追求。它的道路漫長、艱難，而且充滿坎坷，但只要自己勇敢頑強地以一顆自信的心去迎接挑戰，他將永遠是一個真正的勝利者!

4、每一天都是一個新的日子。走運當然是好的，不過我情願做到分毫不差。這樣，運氣來的時候，你就有所准備了。

5、生活總是讓我們遍體鱗傷，但到後來，那些受傷的地方一定會變成我們最強壯的地方。

6、但是這些傷疤中沒有一塊是新的。它們像無魚可打的沙漠中被侵蝕的地方一般古老。他身上的一切都顯得古老，除了那雙眼睛，它們像海水一般藍，是愉快而不肯認輸的。