Moby Dick; Or, The Whale cover
Narrative Pressure 精选金句

Moby Dick; Or, The Whale

值得重读的经典文学片段。

Melville, Herman 2001 204 min

第五章:第一章。织机。

金句

Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world.

展开解读

这句标志性的开篇确立了叙述者的人格,并为整部小说奠定了存在主义的基调。它立即标志着对社会的退却和对未知的拥抱。

金句

Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can.

展开解读

以实玛利生动地列举了他深深抑郁和不安的症状。“灵魂里阴湿的十一月“这个隐喻捕捉了驱使人们将大海作为疗愈之所的内在郁结。

金句

With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship.

展开解读

以实玛利将罗马政治家加图的戏剧性自杀与自己平静的离去形成对比,将这次航行框架为自我毁灭的一种斯多葛式替代。这凸显了他逃避中固有的生存本能。

金句

Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries.

展开解读

这幅有力的画面描述了水对城市居民的磁性吸引。它暗示了一种普遍的、潜意识的崇高渴望,超越了城市生活的世俗常规。

金句

And still deeper the meaning of that story of Narcissus, who because he could not grasp the tormenting, mild image he saw in the fountain, plunged into it and was drowned. But that same image, we ourselves see in all rivers and oceans. It is the image of the ungraspable phantom of life; and this is the key to it all.

展开解读

以实玛利重新诠释那耳喀索斯的神话,以解释人类对水的痴迷。波浪中可见的“不可捉摸的生命幻影“代表着人们追逐却永远无法完全捕捉的存在的难以捉摸的意义。

金句

What of it, if some old hunks of a sea-captain orders me to get a broom and sweep down the decks? What does that indignity amount to, weighed, I mean, in the scales of the New Testament? Who ain’t a slave?

展开解读

在这里,以实玛利通过诉诸普遍的奴役状态来调和自己的骄傲与体力劳动的苦差。他论证说,既然所有人在某种形而上学意义上都是仆人,那么听从船长的命令就算不上屈辱。

金句

Chief among these motives was the overwhelming idea of the great whale himself. Such a portentous and mysterious monster roused all my curiosity.

展开解读

叙述从一般哲学转向这次旅程的具体动因。鲸鱼被引入时不仅仅作为猎物,而是作为一个宇宙实体,占据了叙述者的全部注意力。

金句

I am tormented with an everlasting itch for things remote. I love to sail forbidden seas, and land on barbarous coasts.

展开解读

以实玛利承认自己有一种向危险和未知事物靠拢的心理驱动力。这种“痒“解释了他为何愿意冒着捕鲸的危险,而不选择常规生活的安全。

金句

…mid most of them all, one grand hooded phantom, like a snow hill in the air.

展开解读

本章以白鲸那令人难忘、庄严的形象结束。它预示了小说的核心冲突,将莫比·迪克呈现为以实玛利灵魂中一个幽灵般的、压倒性的存在。

第六章:第二章。旅行袋。

金句

For my mind was made up to sail in no other than a Nantucket craft, because there was a fine, boisterous something about everything connected with that famous old island, which amazingly pleased me.

展开解读

以实玛利在出发点的选择上表现出一种浪漫的固执。他拒绝了新贝德福德的实用性,选择了楠塔基特的历史声望和狂野特质,确立了他对“原始“而非仅仅便利的偏好。

金句

With anxious grapnels I had sounded my pocket, and only brought up a few pieces of silver,—So, wherever you go, Ishmael, said I to myself, as I stood in the middle of a dreary street shouldering my bag… wherever in your wisdom you may conclude to lodge for the night, my dear Ishmael, be sure to inquire the price, and don’t be too particular.

展开解读

“焦急的抓钩“这个航海隐喻强调了他检查空口袋时的绝望。这段自言自语凸显了他的孤独,以及迫使他在这座黑暗城市中移动的直接的、折磨人的贫困。

金句

It seemed the great Black Parliament sitting in Tophet. A hundred black faces turned round in their rows to peer; and beyond, a black Angel of Doom was beating a book in a pulpit.

展开解读

误将一个喧闹的黑人教堂当作客栈,以实玛利对这一场景给出了幻觉般的描述。托菲特——圣经中的地狱火之谷——的意象强调了他的困惑以及他所犯错误的可怕、意外的性质。

金句

Coffin?—Spouter?—Rather ominous in that particular connexion, thought I.

展开解读

以实玛利对客栈招牌和房东名字的反应预示了小说的死亡主题。他因贫困而接受这些不祥之兆,表明了必要性如何压倒了迷信。

金句

“In judging of that tempestuous wind called Euroclydon,” says an old writer—of whose works I possess the only copy extant—“it maketh a marvellous difference, whether thou lookest out at it from a glass window where the frost is all on the outside, or whether thou observest it from that sashless window, where the frost is on both sides, and of which the wight Death is the only glazier.”

展开解读

以实玛利引用一位形而上学作家的话来区分富人的舒适与穷人的暴露。将死亡描绘成无框窗户唯一的玻璃匠,是一个冷酷的死亡警示,强调了那些没有住所之人的脆弱。

金句

The universe is finished; the copestone is on, and the chips were carted off a million years ago.

展开解读

这句宿命论的陈述反映了以实玛利面对自然元素时的无助感。他接受世界是一个已完成的、冷漠的结构,无法进行任何改善或修复来减轻他的痛苦。

金句

Now, that Lazarus should lie stranded there on the curbstone before the door of Dives, this is more wonderful than that an iceberg should be moored to one of the Moluccas.

展开解读

援引圣经寓言,以实玛利将门口冰冷的乞丐与里面的富人形成对比。他认为,如此极端的苦难与冷漠并存,比任何自然奇观都更加反常。

第七章:第三章。喷水客店。

金句

In fact, the artist’s design seemed this: a final theory of my own, partly based upon the aggregated opinions of many aged persons with whom I conversed upon the subject. The picture represents a Cape-Horner in a great hurricane; the half-foundered ship weltering there with its three dismantled masts alone visible; and an exasperated whale, purposing to spring clean over the craft, is in the enormous act of impaling himself upon the three mast-heads.

展开解读

以实玛利解读了入口处那幅混乱、烟熏的画作,揭示了一个灾难性暴力的场景。这幅鲸鱼以自戕方式冲向桅杆尖端的画面,是一个冷酷的预兆,预示着他即将进入的自然世界所固有的毁灭性力量和狂怒。

金句

Within are shabby shelves, ranged round with old decanters, bottles, flasks; and in those jaws of swift destruction, like another cursed Jonah (by which name indeed they called him), bustles a little withered old man, who, for their money, dearly sells the sailors deliriums and death.

展开解读

由鲸鱼颚骨构建的酒吧变成了一个象征性的巨口,房东在这里向水手出售毒药。将房东比作鲸腹中的约拿,为这个男人们面对海洋危险前聚集的场所增添了一层圣经式的讽刺。

金句

“Can’t sell his head?—What sort of a bamboozingly story is this you are telling me?” getting into a towering rage. “Do you pretend to say, landlord, that this harpooneer is actually engaged this blessed Saturday night, or rather Sunday morning, in peddling his head around this town?”

展开解读

以实玛利对房东关于鱼叉手卖头的隐晦玩笑所产生的日益增长的恐慌和困惑,凸显了叙述者丰富的想象力和焦虑。这个可怕的误解在陌生人到来之前制造了悬念。

金句

There was no hair on his head—none to speak of at least—nothing but a small scalp-knot twisted up on his forehead. His bald purplish head now looked for all the world like a mildewed skull. Had not the stranger stood between me and the door, I would have bolted out of it quicker than ever I bolted a dinner.

展开解读

对奎奎格的外貌描写将他非人化,将他光秃、纹身的头比作发霉的头骨。以实玛利逃跑的本能凸显了他对这位“野蛮人“根深蒂固的偏见和恐惧,这发生在他理解对方之前。

金句

First he takes about a double handful of shavings out of his grego pocket, and places them carefully before the idol; then laying a bit of ship biscuit on top and applying the flame from the lamp, he kindled the shavings into a sacrificial blaze.

展开解读

奎奎格的异教仪式,向他的乌木神像献祭烤焦的饼干,既让以实玛利着迷又让他惊骇。这一刻确立了鱼叉手的异类身份,在以实玛利的基督徒眼中将他标记为异教徒。

金句

Taking up his tomahawk from the table, he examined the head of it for an instant, and then holding it to the light, with his mouth at the handle, he puffed out great clouds of tobacco smoke. The next moment the light was extinguished, and this wild cannibal, tomahawk between his teeth, sprang into bed with me.

展开解读

当灯光熄灭、武装的陌生人跳上床时,紧张气氛达到顶点。他嘴里咬着战斧的形象将床变成了原始危险的场所,引发了以实玛利呼救的尖叫。

金句

“Don’t be afraid now,” said he, grinning again, “Queequeg here wouldn’t harm a hair of your head.”

展开解读

房东随意的安抚立即化解了这场生命攸关的危机。它标志着那个可怕的“怪物“被揭示为一个无害的人这一转折点,将本章的基调从恐怖转向喜剧。

金句

Better sleep with a sober cannibal than a drunken Christian.

展开解读

在一个深刻的顿悟时刻,以实玛利抛弃了他的偏见,接受奎奎格作为同床伙伴。这句名言概括了小说超越表面差异、发现共同人性的主题。

第八章:第四章。床单。

金句

Upon waking next morning about daylight, I found Queequeg’s arm thrown over me in the most loving and affectionate manner. You had almost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-coloured squares and triangles; and this arm of his tattooed all over with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade—owing I suppose to his keeping his arm at sea unmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times—this same arm of his, I say, looked for all the world like a strip of that same patchwork quilt.

展开解读

这段开篇确立了本章关于困惑的亲密感和视觉融合的核心母题。将奎奎格纹身的手臂比作拼布床单,消解了“野蛮人“与家庭生活之间的界限,为以实玛利醒来时的迷失感奠定了基础。

金句

Instantly I felt a shock running through all my frame; nothing was to be seen, and nothing was to be heard; but a supernatural hand seemed placed in mine. My arm hung over the counterpane, and the nameless, unimaginable, silent form or phantom, to which the hand belonged, seemed closely seated by my bed-side. For what seemed ages piled on ages, I lay there, frozen with the most awful fears, not daring to drag away my hand; yet ever thinking that if I could but stir it one single inch, the horrid spell would be broken.

展开解读

以实玛利对童年恐惧的回忆是他当前处境的心理镜像。这段文字凸显了对未知的原始恐惧和想象力的瘫痪,他必须克服这些才能接受那个“食人族“在他床上的现实。

金句

Throwing aside the counterpane, there lay the tomahawk sleeping by the savage’s side, as if it were a hatchet-faced baby. A pretty pickle, truly, thought I; abed here in a strange house in the broad day, with a cannibal and a tomahawk!

展开解读

发现武器将基调从超自然的恐惧转向身体的危险和黑色喜剧。将致命的战斧描述为“斧脸婴儿“,将致命与幼稚并置,突显了以实玛利处境的荒谬。

金句

But Queequeg, do you see, was a creature in the transition stage—neither caterpillar nor butterfly. He was just enough civilized to show off his outlandishness in the strangest possible manners. His education was not yet completed