从相册中窥测女孩性格等[共5篇]

第一篇：从相册中窥测女孩性格等

照片中穿着暴露，身材性感，服饰的档次和品位较低。背景多为酒店客房里的酒柜前、床上或是浴室里，她们绝不会做类似非主流的标志性造型，但眼神挑逗，笑容浪荡，甚至一副性******过后的表情，这些女人大多都是歌厅或酒店的小姐，如果还有抽烟照的话就可以肯定是了。

照片中年纪不大，穿着打扮像个大洋娃娃，喜欢抱个比熊，逛街时挎个比自己身体还宽大的布袋子，神情天真烂漫，不经意间露出小蛮腰上的性感纹身。背景一般为肯德基、必胜客或者是服装店的试衣间，也或者是车内、宾馆房间内。这类女孩大多是被成功人士包养的学生妹，尤其以艺术类专业居多，这种女孩兼具了非主流、学生妹以及二奶三者的特质，但又比非主流漂亮，比学生妹开放，比二奶清纯，是广大成功人士最为青睐的上等尤物。

空间的相片从头看到尾都是鼓着眼睛，撅着嘴巴，反正没有一张规规矩矩的，100多张相片翻下来，都看不出她什么样子的，那恭喜你，你遇见了传说中的非主流。

那些把在照相馆拍的古典艺术照作为封面的女人，多半是长相平平，性格传统，各方面条件也都一般的剩女。

在空间里大秀自己和小宝宝幸福合影的女人一般为人本分，生活充实，心地善良，很有女人味的幸福小少妇。

相册里头相片没有一张是相机拍的，全部都是在网吧大厅的视频截图，身后的座椅靠背烂了一个洞，或者背后还有几个光着膀子在抠脚的人，这样的人大多是城市边缘的外来务工者

穿着得体、气质优雅，照片多为与家人或同学旅游照、聚会照、学校生活照，偶尔也来一两张搞怪的“非主流”照的女孩通常是家境宽裕、成绩优秀、身心健康的阳光女孩

把LV、Gucci、CD、兰蔻什么的码得整整齐齐逐一拍照并且专门建立一个相册大肆炫耀的女人一般都是没读什么书的暴发户的女儿，也有可能是刚刚被包不久二奶。因为在她们眼里，没有什么比这些东西更能证明她们是价值

照片中穿着波西米亚风格的长裙在尼泊尔的神庙前的一个耐人寻味背影、身披华美的披肩在丽江某个咖啡屋的木质露台上看杂志，或者穿着性感比基尼在马尔代夫的沙滩逐浪嬉戏的女人一定是非同一般名门闺秀或者有着“海龟”背景的都市“白骨精”，她们气质高雅，表情从容，具有很高的文化涵养和艺术品位。她们的相片一定是单反拍的，她们当然不乏LV和GUCII，但一般不拿来拍照。

35岁以上还在空间里大秀自己性感照片的女人一定是婚姻不尽人意，生活空虚，内心寂寞，性情放荡，已经出轨或者想要出轨的女人

在空间里大秀自己浴室性感照甚至是 是半裸自拍的女人至少和三个以上的男人有过性关系。

第二篇：希腊神话中对潘多拉的评价 女人的典型性格等

Pandora as being formed after Prometheus twice transgresses against Zeus;first through deceitful sacrifice and secondly through the theft of fire.As a consequence of these actions, Zeus decrees that he “shall give them [men] an affliction in which they will all delight as they embrace their own misfortune.” the latter naming her Pandora, “All gift, because all the dwellers on Olympus made her their gift – a calamity for men who live by bread.”(Hesiod.Works and Days.West trans.81-3)Importantly, Hermes places in her heart “lies and wily pretences and a knavish nature.”(Hesiod.Works and Days.West trans.68).The introduction of Pandora into the mortal realm may be viewed as a continuation of the civilising of mankind.Through the duplicitous actions of Prometheus, a precedent has been set regarding sacrificial ritual, and the use of fire further elevates humans above the other beasts inhabiting the earth.Pandora’s presence will continue this trend through the institution of the marriage rite;or as Vernant writes, “the female creature fashioned by the gods for the human beings is described as a parthenos [virgin] adorned to celebrate her marriage.”(Vernant190-1).Thus from the first, she appears as daughter, virgin and bride;this intimates not only her future role in procreation, but also the need for women to enter unions both sanctioned and legitimised by men – be they mortal or otherwise.This theme will also recur in the discussion of Persephone and Helen.Although Pandora may not be the actual ‘daughter’ of any one god, she – the “molded woman” – has been touched, in her creation, by many.As with the deceitful sacrifice of Prometheus, she appears as a gift to “set against the fire,”(Hesiod.Works and Days.West trans.57).though her function will prove to be very different.Although Pandora may not be the actual ‘daughter’ of any one god, she – the “molded woman” – has been touched, in her creation, by many.As with the deceitful sacrifice of Prometheus, she appears as a gift to “set against the fire,”(Hesiod.Works and Days.West trans.57).though her function will prove to be very different.She is given as wife to Epimetheus(Afterthought), who has been expressly warned by his brother Prometheus(Forethought)not to accept any gifts from the Olympians “for fear it might prove to be an evil for mankind.”(Hesiod.Works and Days.Lattimore trans.88)In Works and Days, Pandora unstops a jar that she herself has received from the gods, and this action releases “grim cares”(Hesiod.Works and Days.West trans.39.Cf.Lattimore trans.: “sad troubles.”)and henceforth “countless troubles roam among men.”(Hesiod.Works and Days.West trans.100.Cf.Lattimore trans.: “other troubles by thousands that hover about men.”).If formerly the “tribes of men on earth lived remote from ills, without harsh toil and the grievous sicknesses that are deadly to men,”(Hesiod.Works and Days.West trans.90-93)the double hybris of Prometheus concludes such an era.Hesiod describes it thus:.when he [Zeus] had made the lovely evil to pay for good, he led her where the other gods and men were;.awe filled immortal gods and mortal men when they saw the sheer trick, irresistible to men.For from her is the race of female women, [from her is the deadly race and tribes of women] a great plague to mortals, dwelling with men.(Hesiod.Theogony.Caldwell trans.585-93)

But Pandora functions as more than this.Although she may be directly responsible for releasing misery upon her people, we must recall that she has been designed expressly for this purpose.Moreover, her creation is the direct result of the interaction between Zeus and Prometheus;arguably representative of the intelligence exhibited by gods and mortals respectively.I have already referred to the institution by Prometheus of the sacrifice ritual and his theft of fire, and how this uniquely positions humans vis-à-vis the gods.In her analysis of the myth, Blundell argues that through incorporating into Pandora “elements of all three levels of being [bestial, human and divine], she helps to determine the intermediate status of the human race, poised between the gods and the beasts”(Blundell, 23).But in highlighting this division through both her presence and her actions, Pandora likewise operates to further emphasise the separation between realms.The arrival of Pandora heralds another fundamental change for humankind.For though she(and thus all women)may operate as a “bane for mortal men...conspirators in causing difficulty,”(Hesiod.Theogony.West trans.600-1)the rejection of womankind leads to a different class of misfortune.To exist entirely without women will leave a man with no one to care for him in his old age, and, on dying, “distant relatives share out his living”(Hesiod.Theogony.West trans.606-7).By implication, the closest a man may come to immortality is through the propagation of his line.In avoiding women, he is doomed to the shortest kind of reknown and remembrance.Pandora is indeed both a pawn and the final gift in this reciprocal trickery.As Zeitlin argues, Pandora is – in all versions – “the outcome of a game of wits between Prometheus and Zeus that revolves around a series of deceptions and counter-deceptions in connection with the exchange of gifts”(Zeitlin, 58-74.59).She is formed in order to serve as bride, and as explicitly stated in both the Theogony and Works and Days, also as wife and mother.Regardless of whether a man embraces or rejects this bequest of Zeus, it is impossible for there to be no repercussion.Thus in the creation of Pandora, and womankind with her, a new age commences.As will be discussed below, this will ultimately bring with it the cessation of intercourse between gods and mortals.The three mythological figures of Pandora, Persephone and Helen present us with important perspectives on the role that women play – if not in Ancient Greek society itself – then in the archaic literature we have inherited from that society.Indeed, the function of each woman becomes apparent only through her interaction with, firstly, those from whom she originates and her separation from them, and secondly, her selected husband and her integration into his community.Thus the daughters of gods – as opposed to sons, such as Herakles and Akhilleus, who often embody a form of hyper-masculinity – may appear as reference points for the place which mortal women ought to occupy.Each of these examples raises a multitude of questions, but this exemplifies the problems inherent in attempting to categorise women in Greek myth, who have a tendency to appear as elusive as the three discussed above.One way we may approach them is as ciphers through which to view ancient Greek women as they were perceived and as they may have perceived themselves.We must remember that in such a dynamic mythology it is impossible that women were not affected by the telling of such stories and vice versa – for these myths existed likewise through the impact real women had on their telling.But she's not the first mortal woman and I don't want to delve into the Greek creation myths right now to find out who that particular woman was.I don't think a specific name was mentioned.In any case, the race of man was created by the Titan Prometheus out of lumps of clay.In order to better their chances of survival, he stole fire from the gods.This story is timeless, it's a rebellion against some feudal lord all over again.Of course, being the overlord furious at the thought that something that only his people had the right to have was being used to warm the hearths of little clay people, Zeus bound Prometheus to a mountain and had vultures eat his liver out for eternity.Boy, their punishments were incredibly creative those days.Zeus wasn't satisfied but because he didn't want to seem petty, and probably because picking a fight with the little clay people(that's us)was undignified and so very not godly, he had to have a more subtle revenge.He had his minions craft a woman.The first woman to be created by the gods and given a name in Greek mythology: Pandora.They gifted her with all sorts of beauty and cunningand sent her to wed Epimetheus, the bibbling dolt who was Prometheus' brother.Her mission: to bring suffering to the whole of mankind.Mata Hari had nothing on her.The gods gave her that now famous box as well.Of course they told her not to open it, THEN gave her an super duper extra dose of curiosity.She was dooomed to success.Anyway, she probably only opened the box because her gay lunkhead of a husband didn't have enough blood in him to excite a flea.It's another Adam and Eve story, probably the basis for that as well.Semonides concludes: “Zeus designed woman as the greatest of all evils.She is a source of evil, especially to her husband, even if she seems to be a help in some ways.No one manages to spend a whole day in contentment if he has a wife...Yes, this is the greatest plague Zeus has made, and he has bound us to them with a fetter than cannot be broken.Because of

this, some have gone to Hades fighting for a woman.”Semonides is here probably thinking of the adulterous Helen of Troy.Can literary fragments be relied on to portray dominant cultural values? If so, the characteristic ancient Greek outlook on women can be found in two quips by comic playwrights.Eubulus, a fourth century Athenian, judging evil women to outnumber good ones overwhelmingly, alludes to Pandora.“The second man to marry should be punished, but not the first [Epimetheus], who had no experience of how awful a wife can be.”Eva Keuls, in her study of sexual politics in ancient Athens, entitled The Reign of the 18

Phallus, selects this line from the fifth century Pherecrates to illustrate the deep-seated misogyny: “He who bemoans the death of his wife is a fool who doesn't appreciate his good fortune.”19

III Hellenization's impact on Western Asia came after the conquests of Alexander the Great in the fourth century.The Greek theme of women being universally and inherently alluring, but disastrous, infiltrated Jewish thought when Palestine came under Hellenistic influence.In the Hebrew Bible, the best example of what the French would call la femme fatale is found in Ecclesiastes 7:26.In that verse, a philosopher sounds a warning about the wiles of women: “I found something more bitter than death--woman.The love she offers you will catch you like a trap or like a net;and her arms around you will hold you like a chain.A man who pleases God will get away, but she will catch the sinner.” In the Israelite society prior to the Hellenistic era, there were proverbs and stories about prostitutes and nagging wives who could precipitate a calamity, but such women were usually denounced in order to heighten the contrast with virtuous women.The Testament of Reuben, written in the second century before the Christian era, continues the female ensnarement motif: “Do not devote

On Women, frag.7.Pandora's Daughters(Baltimore: Johns Hopkins, 1987), pp.69, 17

177.18 Fr.116, 117;cf.Mary Lefkowitz and Mauren Fant, Women's Life in Greece and Rome(Baltimore: Johns Hopkins, 1982), p.18.19 Fr.248a;Eva Keuls, The Reign of the Phallus(New York: Harper & Row, 1985), p.130.40-Eve and Pandora Contrasted your attention to the beauty of women...For women are evil, my children,...they scheme treacherously how they might entice man to themselves by means of their looks...By a look they implant their poison, and finally they take them captive”(4:1;5:1, 3).woman is singled out as “the beginning of evil.” Eve and her daughters are described in this disparaging way: “The woman, being imperfect and depraved by nature, made the beginning of sinning and prevaricating;but the man, being the more excellent and perfect creature, was the first to set the example of blushing and of being ashamed, and indeed of every good feeling and action.”20

The “beautiful evil”(kalon kakon)was named Pandora because a variety of Olympian gods and goddesses had given her traits.This “booby trap” equipped with “lying and tricky talk” was delivered to Epimetheus(“afterthinker”), the uncautious brother of Prometheus(“forethinker”).Before Epimetheus accepted the gift, men lived like gods in a paradisiacal Golden Age “free from evils, harsh labor, and consuming diseases.” But when Pandora maliciously opened the lid of a huge jar, all kinds of miseries flew out and infected mortals throughout the earth.Hesiod ends his story: “This was the origin of damnable womankind, a plague with which men must live.” Further on in Works and Days, the poet warns of sweet-talking and hip-wiggling women who steal from those that find them fascinating.Hesiod's final judgment: “Any man who trusts a woman, trusts a deceiver”(373-375).He believed that the multitude of Pandora's daughters inherit their mother's loveliness and cunning.Their charm and breeding potentially compel men to associate with them, but their bad character makes domestic life miserable.woman is singled out as “the beginning of evil.” Eve and her daughters are described in this disparaging way: “The woman, being imperfect and depraved by nature, made the beginning of sinning and prevaricating;but the man, being the more excellent and perfect creature, was the first to set the example of blushing and of being ashamed, and indeed of every good feeling and action.” “Eve in Scripture opened the forbidden fruit by her bite, by which death invaded the world.So did Pandora open the box in defiance of a divine injunction, whereby all the evils and infinite calamities broke loose and overwhelmed the hapless mortals with countless infirmities.”

Mary Daly, for example, contends that over the millennia Eve has been continually viewed as the universal woman and as the incarnation of evil.She entitles a chapter in one her books, “Exorcising Evil from Eve.”John Phillips has recently analyzed the Eve motif in the works of artists, theologians, and psychologists across the ages.He believes that the story of Eve is “at the heart of the concept of woman in Western civilization.” In his concluding summary, Phillips states: "She becomes through her weaker nature the instrument of evil.56

第三篇：从身份证中查出生日期性别等公式

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D))=18)*2),”##-##-##“),”“)

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D))=18)*2),”##-##-##“),”“)

=IF(TRIM(D:D)<>”“,TEXT((LEN(TRIM(D:D))=15)*19&MID(TRIM(D:D),7,6+(LEN(TRIM(D:

D))=18)*2),”##-##-##“),”“)出生日期

性别=IF(TRIM(D:D)<>”“,IF(MOD(MID(TRIM(D:D),15,3),2),”男“,”女“),”")

开机启动的快捷图标闪烁：

1、把防护性软件（如360、QQ管家）关闭掉

2、如果老师不使用畅言、需要打开防护性软件可：a、将畅言的开机启动禁用(360-优化加速-启动项或者开始-运行-msconfig-确定-选择启动）b、在路径例如C:Program FilesiFlytek BBT20shell下，重命名文件iFLY_BBTShellAgent.exe如iFLY_BBTShellAgent00.exe，重启电脑

删除电子课本（预置资源）：在安装路径，例如C:Program FilesiFlytek BBT20resourcesebook（或者local）中找到信息，选择删除

第四篇：从办公桌：一眼看穿你的工作性格!

1极简主义者

办公桌特点:几乎是空的，只有电脑、键盘和鼠标，没有装饰、笔、杂物，完全没有生活气息。

工作风格：他推崇「简单至上」的工作方式，总是以最小的工作量完成任务。他经常有意无意地忽略邮件，总是最后一分钟交工作报告，喜欢在开会时保持沉默。午饭常常吃很久，吃完不会马上清洗餐具。要小心他：在上班时，一边找其他工作。2囤积控

办公桌特点:推着山一样高的文件，每个抽屉都塞得满满的。各种收据、饮料瓶和陈年会议笔记，都摆在桌子上。

工作风格：每件事都想管，经常主动提出想法，主动报名参加各个行动小组，抢当组长。他写的邮件常常和小说一样长。要小心他：他的桌子可能成为火灾隐患。

3不记录会死星人人才建设是门店组织发展的重要环节，有人说现代企业间的竞争就是人才的竞争，可见人才培养的重要性。但现实中很多店长认为人才培养工作只是人力资源部门的分内之事，与自己“八竿子打不着”，这是及其错误的——在人才的发掘、培养及应用上，各个闸口店长的责任其实更重，作用更直接。但由于思想上认识不够，很多店长在实际工作中经常犯两个错误：放任和抛弃。

一、不放任：放任是最大的不信任，人一旦“放任”，就会“自流”。一些店长表面上说对店员信任，把工作交给下面之后就置之不理，任其放手发挥。到最后自己的“充分信任”却换来店员的抱怨和不信任，甚至导致工作腰折流产。其实，放任是最大的不信任，没有检查和监督的盲目“信任”实际上是该店长失职渎职的遮羞布，而这正是造成人才埋没或流失的罪魁祸首。因为人一旦被“放任”，就会“自流”。

特别是在遇到重大难题或者是重大任务的时候，人往往会犹豫退缩，这时候店长一定要向前推动，一定要介入得很细致，不能放任下属。遇到问题;有时候出差在外，再累也要跟几个负责人电话沟通，听汇报，提建议。这么频繁的干涉，表面上看是对自己下属的“不信任”，其实恰好相反，我绝对相信我的团队能完成工作——事实上他们也经常超额完成。我之所以这样，一是分享他们阶段性成果的喜悦，我很享受这个过程;二是及时发现过程中的问题或者新的创新点，马上优化，既节约时间，又少走弯路。

二、不抛弃：用人所长，补人所短，铁打的营盘也可以有不流水的兵 优秀的店长通常用人所长，补人所短。任何人都有优点，也有弱点，如果只看到员工的弱点，将其抛弃，那这样的领导是“名符其实的人才杀手”;如果 “只用长不补短”，这样的领导是“慢性人才杀手”，因为忽视下属的弱点，放任不管，这些弱点很可能变成“致命伤”，最终也会毁了这个人才。同时，“只用长不补短”会让下级认为自己在公司只有输出，没有成长，内心失衡也会流失。

“铁打的营盘流水的兵”，很多领导苦恼人员流失。其实，补短才能抓住员工的心。因为最了解自己的人是自己本身，但自己又最不敢面对自己。他知道自己哪些地方不行，但又不好意思直接说出来，此时就会迷茫、纠结，急需有人帮他，甚至逼他。员工也经常会对自己的弱点感到自卑，他们也觉得有危机，但不敢公开说出来。所以，逼着他们改正坏习惯，补足他们的弱点，是每位管理者的责任。如果一个领导让下属觉得你不仅不抛弃他们，反而跟着你可以改正他们自己的不足，他们定会自信满满，迸发出难以想象的工作激情。这样的领导才能真正带好兵，才能真正让团队有凝聚力，棒打不散。

三、要带头，领导示范往往事半功倍

所谓上行下效，很多时候一项工作能否推动要看店长的亲身示范，“店长”如果只说而不干，那整个团队工作风气肯定好不到哪去。店长带头往往会给下属信心，因为你是他们的“主心骨”，这种作用是非常强大的。

四、要拍板，而不拍马

当店长要敢于拍板，要会拍板，拍得对才能拍得硬，拍的准才能拍得响。现在很多店长不敢拍板，怕担责任，溜须拍马倒是很有一套，这坚决不行!店长不要拍马要拍板!

五、要欣赏，但标准不能低，要欣赏自己的下属，他们有自己的优点，但是不能以此而降低对他们的要求，严格高标准既是对自己工作负责，也是对下属的成长负责。很多店长误认为欣赏下属和标准严格是对立的，要么严苛要求下属从不欣赏，要么只看到下属的长处，认为他一好百好，干脆放任不管，毫无高标准。

实际上，店长的标准低，反映的是店长本身水平低，造成对员工的要求不高。他们不相信自己能干高标准的活儿，更不相信下属也能干高标准的工作。但是“人之初，性本上”，每个人都希望向上，每个人都希望使事物更美好，高标准要求每位员工，使员工养成高标准的习惯，其实对店长自己也是一种提升，反过来也更能赢得下属的佩服欣赏。所以，要在欣赏他人欣赏自己的同时，严格要求他人和自己，只有这样，团队才有持续的向上力和和谐的向心力，这样的店长才是好店长。

办公桌特点：他的办公桌就是「生活精彩时刻」展览馆，摆满了照片、明信片、零食、学位证和奖杯等等。

工作风格：他是一个很好的团队成员，珍视每一次工作聚餐。他很乐意帮其他同事，几乎能记住每个人的生日。他会备份每份文件。他永远有聊不完的八卦，喋喋不休的聊最近的假期旅行。要小心他：将绝密的文件裱起来放在桌上。4技术宅

办公桌特点：他的办公桌装配了最先进的设备，有多个液晶显示屏和各种接头的充电器。

工作风格：他喜欢优化工作流程，还经常参加各种视频会议。他开会时，常常冒出各种流行词，会做非常炫的 PPT。总是抱怨办公室网速不够快。有时会偷偷玩游戏。

要小心他：接入设备过多，引起办公室电压不稳。5长期病号

办公桌特点：摆着一大瓶洗手液、空气净化器和永远用不完的卫生纸。椅子、键盘和鼠标，全部符合人体工程学。

工作风格：他请病假的次数比办公室所有人加起来还多，不是过敏、食物中毒、就是流行感冒。他基本上可以应付工作，除非生病了。他在桌子上贴便签提醒自己洗手，还把办公室的药箱搬到自己的位子上，经常和同事聊起来最近一次生病的情况。要小心他：喝止咳水上瘾。6禅宗大师

办公桌特点：摆着几盆绿植，养着一缸金鱼，墙上还贴着艺术画。工作风格：他永远保持乐观，经常给同事积极的反馈，对每个人的想法都非常支持。他不在乎最后期限，除非被公司解雇。他经常分享励志故事，光着脚在办公室走，还会组织集体一起练瑜伽。要小心他：一边接待客户，一边冥想。

第五篇：从细节解读林冲性格的转变.27

从细节解读林冲性格的转变湖北黄梅二中胡莹 内容摘要:

林冲是《水浒传》中形象刻画十分鲜明的人物之一，但他是如何从一个声名赫赫的八十万禁军教头转变成一位威风凛凛的农民起义军首领，如何由一个心存幻想、逆来顺受、委曲求全的人转变成一个与统治阶级势不两立、殊死搏斗的英雄人物的呢？这在高中语文课文《林教头风雪山神庙》中有精彩的描述。本文通过三声怒喝的细节研究林冲性格的转变。

关 键 词: 林冲林教头风雪山神庙细节描写性格转变细节就是细微末节，它是人物、情节、环境的最小单位。作家李准曾经说过:“没有细节就不可能有艺术作品。”优秀的细节描写，往往能达到“一目传神，一瞬传情”的艺术境界。《林教头风雪山神庙》里有许多细节描写的妙笔，在此我就结尾部分对林冲三声怒喝的细节，为大家分析一下林冲性格的转变。林冲的第一声“大喝”是在草料场火起后，在山神庙中亲闻陆谦等人的对话，了解高俅等策划阴谋真相的时候。这时，他怒从心头起，恶向胆边生，“轻轻把石头掇开，挺着花枪，左手拽开庙门，大喝一声：“泼贼那里去！“这一喝是林冲的矛盾性格由量变到质变的集中体现，这一喝是林冲大梦方觉，幻想破灭，下决心向恶势力宣战的最简洁的宣言书。林冲原本是个谨小慎微之人，他“吃饭防噎，走路防跌”，如履深渊，如履薄冰，兢兢业业地效命于大宋朝廷，可高俅父子生事陷害，无端制造了“误闯白虎堂”的冤案，把林冲刺配沧州，即便如此，他仍甘做罪囚，安心看守天王堂，希望一旦赦免，好回家和妻室团聚。待得知李小二报信，知晓陆谦等人到沧州后，林冲买刀寻敌，但“街上寻了三五日，不见消耗，林冲也自心下慢了”，胸中燃起的一腔怒火，又强自压下去了。接管草料场后，面对“朔风吹撼，摇振得动” 的草屋，还想“待雪晴了，去城中唤个泥水匠来修理”，随遇而安又占了上风。可肆虐的风雪，使坐在四处漏风的草屋中的林冲身上寒冷，于是他“踏着碎琼乱玉，迤逦背着北风”去买酒避寒，也因此在半路上对神灵顶礼膜拜，乞求“神明庇佑”。堂堂七尺男儿，满腹韬略，武艺精绝的八十万禁军教头，孤身一人，万里作囚，凄惶落魄，把自己的全部希望压在神灵的庇佑上，心中的愤懑可想而知。茫茫人世，或许只有酒店主人的一壶热酒能给林冲以些许安慰，可杯水车薪，难解其心头的郁闷。直至草厅被大雪压倒，林冲仍“恐怕火盆内有火炭延烧起来”，烧了大军草料场。赖以栖身的草厅倒了，林冲只好到山神庙躲避风雪。待至草料场火起，他还准备开门救火。林冲本想得过且过做他的罪囚，盼望流放期满，总有一天会苦难到头，与妻子团圆。然而他的这一线希望被铁的事实击得粉碎，亲见亲闻的事实，如冷水浇头，使林冲忍无可忍，反抗求生的本——《林教头风雪山神庙》结尾三声怒喝的浅析

性占了上风，满腔的怒火化作一声大喝，倾吐了长期郁结在心头的愤懑。这一喝，抖落了林冲原有的委曲求全、逆来顺受的奴性；这一喝，喝出了一个虎虎生风的八十万禁军教头的雄威。

这一喝对于高俅的奴才来说无异于晴天霹雳，你看：“三个人正待要走时，惊得呆了，正走不动”，“林冲举手，肐察的一枪，先搠倒差拨。陆虞候叫声„饶命！‟吓得慌了手脚，走不动。那富安走不到十来步，被林冲赶上，后心只一枪，又搠倒了。“肐察”林冲把仇恨化作力量，贯注于枪尖，一枪搠倒差拨，再一枪又搠倒了富安，可见其行动的果决。这正表明林冲在无情的事实面前，终于无法再忍，义无反顾的走上了反抗的道路。

林冲的第二声“大喝”文章中是这样描述的：“陆虞侯却才行得三四步，林冲喝声道：‘奸贼！你待哪里去！’劈胸只一提，丢翻在雪地上，把枪搠在地里，甩脚踏住胸脯，身边取出那口刀来，便去陆谦脸上搁着。林冲为什么要把陆谦留在最后单独处决呢？我们可以体察林冲当时的心理：差拨受陆谦雇佣，为钱卖身，不屑计较；富安系陆之走卒，奔走效劳，实为胁从；陆谦是高俅的摇尾系统，奴性入骨，阴险刻毒，自与他二人有别。林冲曾在得知陆谦赶到沧州害他时说过：“休要撞着我，只叫他骨肉为泥！”“奸贼！你待那里去！”是林冲对陆谦的义正词严的申斥。“奸贼”、“泼贼”称呼的是那些无赖歹毒的东西，林冲以此称呼陆谦，正表明他已充分认清了此人的真实嘴脸。“你待那里去”——你陆谦伤天害理，坏事做绝，还想逃吗？我能让你逃走吗？你逃走得了吗？我林冲不是窝囊废，任人欺凌，今日且让你看看我林教头的威风。林冲对之切齿痛恨，现在陆谦找上门来送死，哪里会轻易放过。因而要和他单独算帐，看看他的心到底是不是肉长的。林冲的“提、丢、搠、踏、取、搁”等一系列的连续动作，正是林冲此时心理的外在表现。他的愤怒、果决和嫉恶如仇，全部贯注于这些刚性的动作之中了。简洁、传神的动作描写，细致入微地表现了林冲特定环境中的特定心理。如果作者没有准确把握笔下人物的思想性格的发展变化的规律，是很难做到这一点的。

林冲的第三声“大喝”是喝道：“泼贼！我自来又和你无甚冤仇，你为何这等害我！正是‘杀人可恕，情理难容！’”林冲本是安分守纪、忠厚善良之人，在他看来，我不负人，人必不负我；我不犯人，人必不犯我；无冤无仇，绝不会

昧着良心去害人，而陆虞侯却“这等害我，正是杀人可恕，情理难容！”林冲话中的“这等害我”的“这等”，浸渍了他多少酸楚和怨愤啊！自己一生为人处世的道德准则受到了否定和奚落，这是他自己不愿承认的事实。自己一向安分随和、与人为善，却落得如此下场。陆谦和自己自幼相交，本应互相提携，可这个“泼贱”却靠着主子，恣行无忌，卖友求荣，落井下石，设计诱骗林冲的妻子，骗林冲误入白虎堂，买通解差董超、薛霸途中灭口，直至赶到沧州陷害，烧了草料场不说，还要“拾得一两根骨头回京”，禀告高俅父子，献媚讨好。陆谦的所作所为，虽系“太尉差遣”，却也是心甘情愿，卖身投靠。这等丧失人性的恶行天理难容，因而林冲不容陆谦分辨，“把陆谦上身衣服扯开，把尖刀向心窝里只一剜······”，结果了陆谦的性命。林冲接连手刃三人，报仇雪恨，扫却逆来顺受、委曲求全、忍气吞声、屈居人下的奴气，“入庙来„„穿了白布衫，系了搭膊，把毡笠子戴上，待葫芦里冷酒吃尽了，被与葫芦都丢了不要，提了枪，便出庙门投东去”。从此，开始了他替天行道的英雄生涯。

林冲的“两枪一刀”虽只戳在了差拨、富安、陆谦身上，但却是他向高俅以至大宋朝廷的宣战：昔日忍气吞声、忍辱偷安的林冲已经一去不复返了，从此，要杀尽天下不平。作者之所以着意安排林冲与陆谦在此遭遇。让他们作充分的表演，正是为了展示善与恶、美与丑、正义与奸邪、人性与兽性的生死较量，从而肯定真、善、美，鞭挞假、丑、恶，弘扬正义和人性的光辉。作者笔下的林冲的这三声“大喝”，正是对这一胜利的最简洁、最传神、最生动的歌颂和欢呼。综上所述，林冲铁骨铮铮的三声怒喝，是他安于现状、委曲求全和不满现实、扶持正义的性格矛盾斗争的结果，是林冲忍气吞声竭力保全自己和高俅等人步步紧逼必欲置之死地的生死搏斗的结果。《林教头风雪山神庙》结尾部分林冲的三声怒喝细节传神地揭示了林冲当时的复杂心理，完成了林冲性格的“渐变”，展现了林冲的英雄本色。

胡莹，教师，现居湖北黄梅