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第一篇：基督山伯爵读后感
我最近读了一本书，是法国作家大仲马写的《基督山恩仇记》。复仇、宽恕、等待、希望是这部名著的关键词。这本书告诉我：比复仇更博大的是宽恕；比绝望更美丽的是希望；比灾难更持久的是幸福。
这是一个关于复仇的故事。主人公是爱德蒙。邓蒂斯。年轻的水手爱德蒙。邓蒂斯被陷害入狱，打入死牢十四年。在狱中，法利亚神甫向邓蒂斯传授了各种知识，并把基督山岛上藏着一批宝藏的秘密告诉了他。法利亚神甫死后，邓蒂斯钻进长老的裹尸袋里伪装成尸首，当狱卒把他扔进海里，他用小刀割开布袋逃脱。迅速换上遇难水手服搭上过路船只，到了基督山岛。假装受了重伤滞留在基督山岛，找到了宝藏。转瞬间富甲天下，并改名为基督山伯爵。他经过精心策划，报答了朋友莫雷尔，报复了仇人费而南多、卡德鲁斯、腾格拉尔、维尔福。曾嫉妒他的费尔南多和腾格拉尔，一个身败名裂，自杀了；一个破产、妻离子散。诬告他的维尔福疯了。诬陷他的人受到了应有的惩罚。
复仇报恩、惩恶扬善并不是故事的全部。当他完成了复仇后，他选择了宽恕。他宽恕了腾格拉尔，他最终认识到：宽恕比复仇更伟大。他给莫雷尔的儿子马西米亚写的信中说到：世界上既无所谓快乐也无所谓痛苦，只有一种状况与另一种状况的比较，如此而已。只有体验过不幸的人才能体会到的快乐。我们必须体验过死的痛苦，才能体会到生的快乐。所以，享受生命的快乐吧！送给你们一句话，人类的一切智慧就包含在这四个字里面：“等待”和“希望”。
这个故事最值得我学习的是爱德蒙。邓蒂斯坚持不懈的精神和他博大的胸怀。对于我的老师和亲人要感恩图报，对于朋友要热情帮助，对于有矛盾的人要化解宽恕。学习上遇到困难要知难而上，决不退缩！
第二篇：个火枪手中学生读后感500字6
最近我读了《三个火枪手》，这是一本反应法国的路易十三统治时代，皇宫里的争斗。主人公达达尼安与三个火枪手挫败红衣教主的阴谋的.故事。
达达尼安是外地人，千里迢迢从家乡跑到这里来参加火枪卫队，但爸爸给他的一份推荐信，在一次打架中被红衣教主的人偷走了，他爸爸是火枪卫队队长的战友，火枪卫队队长便让他参加了队长的妹夫的御林军了，他在一次与红衣教主的手下的群殴中结识了三个有名的火枪手，他们从此成为好朋友，三个年轻有为的青年人一起挫败了红衣教主的许多阴谋，与奥地利军队打仗，
但是，红衣教主的一个女部下，奉命杀掉达达尼安心爱的人，在达达尼安等人赶到的时候，达达尼安的女朋友已被毒死，他们费尽千辛万苦，终于在一座小木屋里找到了米莱狄(杀掉达达尼安的女朋友的人)，最后，绞死了这个杀人不长眼的女恶魔。
这本书将了人要坚强，这样，才能成为强者。
第三篇：基督山伯爵读后感
人生如画，只有经过一次暴风的蜕变，才能傲立遗世，人生如歌；哪怕有过低潮，暗哑，仍然要追求高潮的快乐。
近读大仲马的著作《基督山伯爵》，该书讲述了法国波旁王朝的一个报恩复仇的故事。法老号船的年轻大副唐泰斯为船主委托，为拿破仑党人送信，遭两个卑鄙小人和阴险检查官维尔福陷害，关入死牢，十四年后，他带着狱友法里亚神埔教授的知识和秘密，越狱逃生，找到宝藏成为巨富，化名基督山伯爵，经过精心布置，报答了恩人，惩罚了恶人的励志故事。
之所以说其励志，是因为故事中的唐泰斯内心的坚韧，那怕这个世界何其不公平，仍然报以欢歌，像一宝剑；在千锤百炼后星光璀璨，如同火中的凤凰，涅重生；如同一只毛毛虫，日复一日地积蓄能量，只待破茧而出。十四年的牢狱生涯，没有磨灭他的光芒，情人的另嫁，父亲的死，一次次冲击着他的心，当他化身为基督山伯爵时，仍然坦坦荡荡，像极了琅琊榜中的梅长苏，经历过黑暗，脱胎换骨，改头换面，有着刻骨铭心的过去，纵然有过疾风，却仍然清澈坚定，面对法老号船的老船长，坚守本心，报答船长的恩情，怀揣着一种信念“无论有多大的风暴，都不能阻挡他前进的脚步”。
我眼中的基督山伯爵，比年轻时更沉稳绅士，若有似无的笑容，优雅的谈吐与举止，无一不在闪闪发光，他爱他爱的人，恨他恨的人，简单至极，哪怕他用尽了办法去报复那些伤害他的人，可高墙没有挡住他的视野，乌云挡不住他的眼睛，他在完成这一切时，告别了巴黎，告别了财富，从唐泰斯到基督山伯爵，陷害也好，牢狱也罢，没有什么能阻挡他内心的强大，遮掩他的光芒，十八年的牢狱，人生又会有多少个十八年，可这个十八年他一步步磨平了棱角，变成了璀璨圆润的珍珠，于他，这十八年的急风骤雨，他从不言弃，在绝望的边缘萌发了生命的花！
书中有一句话：“人类的一切智慧包含在这四个字里面的‘等待、希望，’”是啊！在唐泰斯身上，所有的等待都是为了迎接重生的希望，是值得的，只有在困难和疾风中颠簸中的人，才会体会晴朗的天空是难得可贵的，才会明白人生真正的幸福，才会在波折中永不言弃！
第四篇：基督山伯爵读后感
长篇小说《基督山伯爵》以法国波旁王朝和七月王朝两大时期为背景，描写了一个报恩复仇的故事。法老号大副唐泰斯受船长的临终嘱托，为拿破仑送了一封信，收到两个对他嫉妒的小人的陷害，被打入死牢，狱友法利亚神甫向他传授了个各种知识，还在临终前把一批宝藏的秘密告诉了他。他设法越狱后找到了宝藏，成为巨富。从此他化名基督山伯爵，经过精心策划，报答了他的恩人，惩罚了三个一心想置他于死地的仇人。
浩渺无边的地中海，怪兽一样阴森的古堡监牢，埋藏着无数财宝和秘密的孤岛，天边的一点白帆，从坟墓中苏醒过来的复仇者，带领着我们走进那个19世纪的神秘世界。
我们和他一同走过静谧安详的西班牙小渔村，光怪陆离的罗马狂欢节，黄沙漫漫的北非，烽火连篇的希腊，灯红酒绿的巴黎，我们和他一同经历一切。
蒙冤，越狱，发掘宝藏，浪迹天涯，报恩复仇，追寻已经失去的爱情和青春。
在这个世界上既无所谓幸福，也无所谓不幸，只有一种状况和另一种状况的比较，如此而已，只有体验过极度不幸的人，才能品尝到极度的幸福，只有下过死的决心的人，才能懂得活着有多快乐。
我的朋友，人类的全部智慧就包含在这五个字里面，等待和希望。
第五篇：三个火枪手英语读后感
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达达尼昂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 ofPorthos'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.
