《麦田里的守望者》读后感

其实做一个快乐的“麦田里的守望者”，每天都是很简单看无忧无虑的孩童，自己的责任就是呵护他们，留住那一分属于自己的纯净的快乐还有那甜美单纯的笑容。故事就是一个在那样的一个特殊年代里仍旧保留着最可贵的单纯的孩子！

五六十年代的美国其实是一个相当混乱的时期，一方面科学技术发展速度快，另一方面，与之相反的人们缺乏理想，志气低落，在复杂纷乱的社会背景下没有能力自己的现状，生活的窘迫令人震惊难以想象。特殊的时期，“一代人的崩溃”出现时，霍顿就是他们中的一员，他学会了抽烟还不停的酗酒，心中失去了努力的方向，但是，他仍然还是有希望的，因为在他的底部心，仍然有一个美丽的理想和偏远的所有时间---执行“观赏者在麦田” 。

教育应该是“顺性而为”，主要在于引导而非强制。孩子之所以能够无拘无束地做游戏，首先在于主人公首先给他们建造了一个释放童心，张扬个性的精神家园——麦田，或者允许孩子们进入麦田，却有很多的规定。这样孩子们兴趣达不到极限，也不会有自由精神，更不会有创新精神，甚至会觉得恐喝。

为了保护孩子，不让他们掉下悬崖，他还渴望终生做一个“麦田里的守望者”，发出“拯救孩子”的呼声。可是，愤世嫉俗的思想所引起的消极反抗，还有那敏感、好奇、焦躁不安，想发泄、易冲动的青春期心理，又使得他厌倦读书，不求上进，追求刺激，玩世不恭；他抽烟、酗酒、打架。他觉得老师、父母要他读书上进，无非是要他“出人头地??以便将来可以买辆混帐凯迪拉克”。

教育的成功的智慧在于找到支点，使学生的能力发展和生命成长。守望者并不是一名游戏的旁观者，而是敏感地发现了游戏中的关键点——悬崖，守候于此有四两拨千斤的功效。这不正是我们所谓的

抓住契机吗？智者与方法变是无形的支点。

我觉得这些老师是有所指代的，老师本应作为社会的教育者，但是他们自己的不良导致了教出来的学生是那个样子，作者无疑对于社会的教育制度也是带着批判的眼光的。

“守望”是一种习惯，一种智慧，更是一种境界，一种品质。为了学生的成长，教育需要更多“麦田守望者”。

一切都只是暂时的，不知道过去，我们现在最需要的，这是我们的理想。

第二篇：麦田守望者16-17章概括 英文

Summary: Chapter 16

After breakfast, Holden goes for a walk. He thinks about the selflessness of the nuns and can’t imagine anyone he knows being so generous and giving. He heads down Broadway to buy a record called “Little Shirley Beans” for Phoebe. He likes the record because, although it is for children, it is sung by a black blues singer who makes it sound raunchy, not cute. He thinks about Phoebe, whom he considers to be a wonderful girl because, although she’s only ten, she always understands what Holden means when he talks to her. He sees an oblivious little boy walking in the street, singing, “If a body catch a body coming through the rye.” The innocence of the scene cheers him up, and he decides to call Jane, although he hangs up when her mother answers the phone. In preparation for his date with Sally, he buys theater tickets to a show called “I Know My Love,” which stars the Lunts.

Holden wants to see Phoebe, and he goes to look for her in the park because he remembers that she often roller-skates there on Sundays. He meets a girl who knows Phoebe. At first, she tells him that his sister is on a school trip to the Museum of Natural History, but then she remembers that the trip was the previous day. Nevertheless, Holden walks to the museum, remembering his own class trips. He focuses on the way life is frozen in the museum’s exhibits: models of Eskimos and Indians stand as though petrified and birds hang from the ceiling, seemingly in mid-flight. He remarks that every time he went to the museum, he felt that he had changed, while the museum had stayed exactly the same.

Summary: Chapter 17

At two o’clock, Holden goes to meet Sally at the Biltmore Hotel; she is late but looks very attractive, so he immediately forgives her tardiness. They make out in the taxi on the way to the theater. At the play, the actors annoy Holden because, like Ernie the piano player, they are almost too good at what they do and seem full of themselves. During intermission, Sally irritates Holden by flirting with a

pretentious boy from Andover, another prep school, but he nonetheless agrees to take her ice-skating at “Radio City” (Radio City Music Hall is part of Rockefeller Center, where there is an ice-skating rink) after the show. While skating, Holden speculates that Sally only wanted to go ice-skating so she could wear a short skirt and show off her “cute ass,” but he admits that he finds it attractive. When they take a break and sit down indoors, Holden begins to unravel. Oscillating between shouting and hushed tones, he rants about all the “phonies” at his prep schools and in New York society, and talks about how alienated he feels. He becomes even more crazy and impetuous, saying that he and Sally should run away

together and escape from society, living on their own in a cabin. When she points out that his dreams are ridiculous, he becomes more and more agitated. The quarrel builds until Holden calls Sally a “royal pain in the ass,” and she begins to

cry. Holden starts to apologize, but Sally is upset and angry with him, and, finally, he leaves without her.

Analysis: Chapters 16–17

Things go from bad to worse for Holden in these chapters. His behavior during his date with Sally is the surest sign yet that he is heading toward emotional collapse. Throughout his tirade, Sally asks Holden to stop yelling, and he claims not to have been yelling, indicating that he is unaware of his own extreme agitation. His

attempt to convince a shallow socialite like Sally to run away with him to a cabin in the wilderness also shows his increasing distance from reality—or, at least, his inability to deal with the reality in which he finds himself.

Though Holden admits his behavior is odd when he says, “I swear to God I’m a madman,” he doesn’t do much to explain its significance. Salinger continues to drop hints—like Sally’s requests for Holden to stop yelling—to signal that the story behind Holden’s narration is darker and more troubling than it might at first appear. His mood swings with Sally serve a similar purpose. When he first sees her, he is convinced he is in love with her. He then alternates between annoyance and rapturous passion for the duration of their date, until he finally tells her that she gives him “a royal pain in the ass.” Sally’s coldness and her lack of compassion are reflective of the greater world’s lack of concern about Holden’s plight. Except for Jane and Phoebe, no one in his world seems to care how he feels, so long as he observes social norms. Only when his actions violate those norms does

anyone notice his disturbed state, and even then, their usual response, like Sally’s, is to criticize him. Despite the fact that Sally is obviously not a good match for him, Holden claims that at the moment he proposed that they run away together, he did truly love her. His feelings are irrational, but they indicate how desperate he is to find love.

This desperate need for love is counterbalanced by his inability to deal with the complexities of the real world. Like his encounter with the nuns in Chapter 15, his date with Sally demonstrates how ill-equipped he is to deal with actual people. Sally does not seem to be a very complex character, but Holden cannot connect with her at all. His wild proposals are not the kind of thing Sally is interested in, and he displays callousness when he insults her. As Holden proposes impossible schemes only to lash out when their ridiculousness is made apparent, his

oversimplified, idealized fantasy world begins to seem less endearing and more dangerous.

After the fiasco with Sally, Holden retreats into nostalgic desires to return to childhood. In recalling his visits to the Museum of Natural History, Holden

indicates that he wants life to be like the tableaux he loves: frozen, unchanging, simple, and readily comprehensible. He says that he wishes that everything in life could be placed inside glass cages and preserved, like in the museum. His encounter with Sally shows that he cannot deal with the complexity, conflict,

and change of real life. In the museum’s world, communication is unidirectional: Holden can judge the exhibits, but the exhibits cannot judge him back. After he upsets Sally, he feels terrible and tries desperately to set things right, but he fails, and he cannot tolerate the stressful situation in which he has enmeshed himself. Isolation, he finds, is simpler than the stress that accompanies conflict. Holden’s nostalgic love of the museum is rather tragic: it represents his hopeless fantasizing, his inability to deal with the real world, and his unwillingness to think about his own shortcomings. He mentions that every time he returns to the museum, he is disturbed because he has changed while the displays have not. But he is unwilling to probe further. He readily admits that he can’t explain what he means, and probably wouldn’t want to even if he could. Holden is unwilling to confront his own problems, protecting himself with a shell of cynical comments and outlandish behavior.