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白鲸记 The Whale
  本片是根据美国名著梅尔维尔的同名小说改编,被多次搬上屏幕,其中最出名的是1956年格里高利.派克主演的版本了。这个版本是1998年翻拍的电视电影版本,年迈的格里高利.派克出演其中一个角色。
    白鲸记MobyDic)是世上伟大的小说之一。全书的焦点集中于南太平洋一条名叫莫比·迪克的白鲸,以及捕鲸船皮廓德(Pequod)号的船长阿哈(Ahab)如何对它有不共戴天的仇恨。阿哈在一次航行中被莫比·迪克咬掉一条腿,立志报仇,指挥皮廓德号环航全球追踪,终于发现了它。经过三天放下小艇紧追。虽然刺中了这条白鲸,但它十分顽强狡猾,咬碎了小艇,也撞沉了大船。它拖着捕鲸船游开时,绳子套住阿哈,把他绞死了。全船人尽皆灭顶。只有一个水手借着由棺材改制的救生浮子而逃得性命。整个故事以这个水手伊希梅尔(Ishmael)自述的方式展开。
    《白鲸记》中的讯息
    白鲸记 白鲸记密码许多人发现,MichaelDrosnin用的方法和等距字母序列那篇论文的方法相比,相当不严密。不少人用相同的方法,很容易发现到处都藏有密码,就如英王钦定版的《圣经》里,可以找到UFO一样,这下子整个怀疑都出来了。MichaelDrosnin面对这些批评,在《新闻周刊》的一次访问里,他说:“假如我的批评者,能够在《白鲸记》里,找到某位总理被刺杀的密码讯息,那么我就会相信他们。”这对批评者来说,是个挑战!而这场战争到这个时候,已经是相当白热化了。
    澳洲国立大学的一位计算机教授BrendanMcKay,就接受这个挑战,找到了底下印度总理甘地被刺的“讯息”,并且把它放在自己的网站上。
    直行的IGANDHI,第一个I是他的名字Indira的缩写,按著是甘地(Gandhi)。按著横行是thebloodydeed。死亡的契约,预示著甘地是会被杀的。事实上,马凯不但找到一位总理,他还在《白鲸记》找到林肯、拉宾、肯尼迪…等名人被刺杀的讯息,用的是跟MichaelDrosnin一样的方法。这下子麻烦了,似乎到处都藏有密码,是不是生活周遭都布满天机,等着我们用电脑去解读呢?这位 BrendanMcKay是个很有趣的人,他说,基督教徒也一直在寻找密码,不过他们想找的是有关耶稣基督降临的讯息;而这回他用的是《但以理书》,因为 MichaelDrosnin在《圣经密码》中提到这是一本“封印之书”,预告著“弥赛亚来临的日子”,而耶稣向来都被视为是弥赛亚的。 BrendanMcKay依照魏茨滕等人的方法,考虑了一些关键字词,像sonofgod,去进行分析,结果发现耶稣跟sonofman较靠近。这下子耶稣由“神之子”变成“人之子”,整个论战也跟着变得混沌、局势不明了。


  Moby-Dick, also known as The Whale , is a novel first published in 1851 by American author Herman Melville. Moby-Dick is often referred to as a Great American Novel and is considered one of the treasures of world literature. The story tells the adventures of the wandering sailor Ishmael, and his voyage on the whaleship Pequod, commanded by Captain Ahab. Ishmael soon learns that Ahab seeks one specific whale, Moby Dick, a ferocious, enigmatic white sperm whale. In a previous encounter, the whale destroyed Ahab's boat and bit off his leg. Ahab intends to take revenge.
  
  In Moby-Dick, Melville employs stylized language, symbolism, and metaphor to explore numerous complex themes. Through the main character's journey, the concepts of class and social status, good and evil, and the existence of gods are all examined as Ishmael speculates upon his personal beliefs and his place in the universe. The narrator's reflections, along with his descriptions of a sailor's life aboard a whaling ship, are woven into the narrative along with Shakespearean literary devices such as stage directions, extended soliloquies and asides.
  
  Often classified as American Romanticism, Moby-Dick was first published by Richard Bentley in London on October 18, 1851 in an expurgated three-volume edition titled The Whale, and weeks later as a single volume, by New York City publisher Harper and Brothers as Moby-Dick; or, The Whale on November 14, 1851. Although the book initially received mixed reviews, Moby-Dick is now considered one of the greatest novels in the English language.
  
  The story is based on the actual events around the whaleship Essex, which was attacked by a sperm whale while at sea and sank.
  
  Background
  
  Melville published Moby-Dick in 1851 during a productive time in American literature, which also produced novels such as Nathaniel Hawthorne's The Scarlet Letter and Harriet Beecher Stowe's Uncle Tom's Cabin. Two actual events inspired Melville's tale. One was the sinking of the Nantucket ship Essex, in 1820 after it was rammed by a large sperm whale 2,000 miles (3,200 km) from the western coast of South America. First mate Owen Chase, one of eight survivors, recorded the events in his 1821 Narrative of the Most Extraordinary and Distressing Shipwreck of the Whale-Ship Essex. Already out-of-print, the book was rare even in 1851. Knowing that Melville was looking for it, his father-in-law, Lemuel Shaw, managed to find a copy and buy it for him. When Melville received it, he fell to it almost immediately, heavily annotating it.
  
  The other event was the alleged killing in the late 1830s of the albino sperm whale Mocha Dick, in the waters off the Chilean island of Mocha. Mocha Dick had dozens of harpoons from attacks by other whalers, and appeared to attack ships with premeditated ferocity. One of his battles with a whaler served as subject for an article by explorer Jeremiah N. Reynolds in the May 1839 issue of The Knickerbocker, New York Monthly Magazine. Melville was familiar with the article, which described "an old bull whale, of prodigious size and strength... [that] was white as wool". Significantly, Reynolds writes a first-person narration that serves as a frame for the story of a whaling captain he meets. The captain resembles Ahab and suggests a possible symbolism for whales in that, when his crew first encounters Mocha Dick and cowers from him, the captain rallies them thus: "'Mocha Dick or the d----l [devil],' said I, 'this boat never sheers off from any thing that wears the shape of a whale.'"
  
  Mocha Dick had over 100 encounters with whalers between the 1810's and the 1830's. He was described as being giant covered in barnacles. Although he was the most famous, Mocha Dick was not the only white whale in the sea , nor the only whale to attack hunters, and the "Kathleen" in 1902.
  
  Also inspirational for the novel were Melville's experiences as a sailor, in particular during 1841-1842 on the whaleship Acushnet. He had already drawn on his different sailing experiences in previous novels such as Mardi but he had never focused specifically on whaling. Melville had read Chase's account before sailing on the Acushnet in 1841; he was excited about sighting Captain Chase himself, who had returned to sea. During a mid-ocean "gam" (rendezvous) he met Chase's son William, who loaned him his father's book.
  
  Moby-Dick contains large sections— most of them narrated by Ishmael— that seemingly have nothing to do with the plot but describe aspects of the whaling business. Melville believed that no book up to that time had portrayed the whaling industry in as fascinating or immediate a way as he had experienced it. Early Romantics also proposed that fiction was the exemplary way to describe and record history, so Melville wanted to craft something educational and definitive. Despite his own interest in the subject, Melville struggled with composition, writing to Richard Henry Dana, Jr. on May 1, 1850:
  
   I am half way in the work ... It will be a strange sort of book, tho', I fear; blubber is blubber you know; tho' you might get oil out of it, the poetry runs as hard as sap from a frozen maple tree; — and to cook the thing up, one must needs throw in a little fancy, which from the nature of the thing, must be ungainly as the gambols of the whales themselves. Yet I mean to give the truth of the thing, spite of this.
  
  There are scholarly theories that purport a literary legend of two Moby-Dick tales, one being a whaling tale as was Melville's experience and affinity, and another deeper tale, inspired by his literary friendship with and respect for Nathaniel Hawthorne. These merged into the latter, the morality tale. Hawthorne and his family had moved to a small red farmhouse near Lenox, Massachusetts at the end of March 1850. He became friends with Oliver Wendell Holmes, Sr. and Herman Melville beginning on August 5, 1850, when the authors met at a picnic hosted by a mutual friend. Melville had just read Hawthorne's short story collection Mosses from an Old Manse, and his unsigned review of the collection, titled "Hawthorne and His Mosses", was printed in the Literary World on August 17 and August 24. Melville, who was composing Moby-Dick at the time, wrote that these stories revealed a dark side to Hawthorne, "shrouded in blackness, ten times black". Melville dedicated Moby-Dick (1851) to Hawthorne: "In token of my admiration for his genius, this book is inscribed to Nathaniel Hawthorne."
  Themes
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  Moby-Dick is a symbolic work, but also includes chapters on natural history. Major themes include obsession, religion, idealism versus pragmatism, revenge, racism, sanity, hierarchical relationships, and politics. All of the members of the crew↓ have biblical-sounding, improbable, or descriptive names, and the narrator deliberately avoids specifying the exact time of the events (such as the giant whale disappearing into the dark abyss of the ocean) and some other similar details. These together suggest that the narrator — and not just Melville — is deliberately casting his tale in an epic and allegorical mode.[citation needed]
  
  The white whale has also been seen as a symbol for many things, including nature and those elements of life that are out of human control.Ch 42 The character Gabriel, "in his gibbering insanity, pronounc[ed] the White Whale to be no less a being than the Shaker God incarnated; the Shakers receiving the Bible." Melville mentions the Matsya Avatar of Vishnu, the first among ten incarnations when Vishnu appears as a giant fish on Earth and saves creation from the flood of destruction. Melville mentions this while discussing the spiritual and mystical aspects of the sailing profession and he calls Lord Vishnu as the first among whales and the God of whalers.
  
  The Pequod's quest to hunt down Moby Dick itself is also widely viewed as allegorical. To Ahab, killing the whale becomes the ultimate goal in his life, and this observation can also be expanded allegorically so that the whale represents everyone's goals. Furthermore, his vengeance against the whale is analogous to man's struggle against fate. The only escape from Ahab's vision is seen through the Pequod's occasional encounters, called gams, with other ships. Readers could consider what exactly Ahab will do if he, in fact, succeeds in his quest: having accomplished his ultimate goal, what else is there left for him to do? Similarly, Melville may be implying that people in general need something to reach for in life, or that such a goal can destroy one if allowed to overtake all other concerns. Some such things are hinted at early on in the book, when the main character, Ishmael, is sharing a cold bed with his newfound friend, Queequeg:
  
   ... truly to enjoy bodily warmth, some small part of you must be cold, for there is no quality in this world that is not what it is merely by contrast. Nothing exists in itself. If you flatter yourself that you are all over comfortable, and have been so a long time, then you cannot be said to be comfortable any more.
   — Moby-Dick, Ch. 11
  
  Ahab's pipe is widely looked upon as the riddance of happiness in Ahab's life. By throwing the pipe overboard, Ahab signifies that he no longer can enjoy simple pleasures in life; instead, he dedicates his entire life to the pursuit of his obsession, the killing of the white whale, Moby Dick. A number of biblical themes can also be found in the novel. The book contains multiple implicit and explicit allusions to the story of Jonah, in addition to the use of certain biblical names (see below).
  
  Ishmael's musings also allude to themes common among the American Transcendentalists and parallel certain themes in European Romanticism and the philosophy of Hegel. In the poetry of Whitman and the prose writings of Emerson and Thoreau, a ship at sea is sometimes a metaphor for the soul.
  Plot
  
  "Call me Ishmael," Moby-Dick begins, in one of the most recognizable opening lines in English-language literature. The narrator, an observant young man setting out from Manhattan, has experience in the merchant marine but has recently decided his next voyage will be on a whaling ship. On a cold, gloomy night in December, he arrives at the Spouter-Inn in New Bedford, Massachusetts, and agrees to share a bed with a then-absent stranger. When his bunk mate, a heavily tattooed Polynesian harpooner named Queequeg, returns very late and discovers Ishmael beneath his covers, both men are alarmed, but the two quickly become close friends and decide to sail together from Nantucket, Massachusetts on a whaling voyage.
  
  In Nantucket, the pair signs on with the Pequod, a whaling ship that is soon to leave port. The ship’s captain, Ahab, is nowhere to be seen; nevertheless, they are told of him – a "grand, ungodly, godlike man," according to one of the owners, who has "been in colleges as well as 'mong the cannibals." The two friends encounter a mysterious man named Elijah on the dock after they sign their papers and he hints at troubles to come with Ahab. The mystery grows on Christmas morning when Ishmael spots dark figures in the mist, apparently boarding the Pequod shortly before it sets sail that day.
  
  The ship’s officers direct the early voyage while Ahab stays in his cabin. The chief mate is Starbuck, a serious, sincere Quaker and fine leader; second mate is Stubb, happy-go-lucky and cheerful and always smoking his pipe; the third mate is Flask, short and stout but thoroughly reliable. Each mate is responsible for a whaling boat, and each whaling boat of the Pequod has its own pagan harpooneer assigned to it. Some time after sailing, Ahab finally appears on the quarter-deck one morning, an imposing, frightening figure whose haunted visage sends shivers over the narrator. (A white scar, reportedly from a thunderbolt, runs down his face and it is hinted that it continues the length of his body.) One of his legs is missing from the knee down and has been replaced by a prosthesis fashioned from a sperm whale's jawbone.
  
  Soon gathering the crewmen together, with a rousing speech Ahab secures their support for his single, secret purpose for this voyage: hunting down and killing Moby Dick, an old, very large sperm whale, with a snow-white hump and mottled skin, that crippled Ahab on his last whaling voyage. Only Starbuck shows any sign of resistance to the charismatic but monomaniacal captain. The first mate argues repeatedly that the ship’s purpose should be to hunt whales for their oil, with luck returning home profitably, safely, and quickly, but not to seek out and kill Moby Dick in particular – and especially not for revenge. Eventually even Starbuck acquiesces to Ahab's will, though harboring misgivings.
  
  The mystery of the dark figures seen before the Pequod set sail is explained during the voyage's first lowering for whales. Ahab has secretly brought along his own boat crew, including a mysterious harpooneer named Fedallah, an inscrutable figure with a sinister influence over Ahab. Later, while watching one night over a captured whale carcass, Fedallah darkly prophecies to Ahab hints regarding their twin deaths.
  
  The novel describes numerous "gams," social meetings of two ships on the open sea. Crews normally visit each other during a gam, captains on one vessel and chief mates on the other. Mail may be exchanged and the men talk of whale sightings or other news. For Ahab, however, there is but one relevant question to ask of another ship: “Hast seen the White Whale?” After meeting several other whaling ships, which have their own peculiar stories, the Pequod enters the Pacific Ocean. Queequeg becomes deathly ill and requests that a coffin be built for him by the ship’s carpenter. Just as everyone has given up hope, Queequeg changes his mind, deciding to live after all, and recovers quickly. His coffin becomes his sea chest, and is later caulked and pitched to replace the Pequod's life buoy.
  
  Soon word is heard from other whalers of Moby Dick. The jolly Captain Boomer of the Samuel Enderby has lost an arm to the whale, and is stunned at Ahab's burning need for revenge. Next they meet the Rachel, which has seen Moby Dick very recently. As a result of the encounter, one of its boats is missing; the captain’s youngest son had been aboard. The Rachel's captain begs Ahab to aid in the search for the missing boat, but Ahab is resolute. The Pequod’s captain is very near the White Whale now and will not stop to help. Finally the Delight is met, even as its captain buries a sailor who had been killed by Moby Dick. Starbuck begs Ahab one final time to reconsider his thirst for vengeance, but to no avail.
  
  The next day, the Pequod meets Moby Dick. For two days, the Pequod's crew pursues the whale, which wreaks widespread destruction, including the disappearance of the 'Parsee'. On the third day, Moby Dick rises up to reveal the Parsee tied to him by harpoon ropes, clearly dead. Even after the initial battle on the third day, as Moby Dick swims away from the Pequod, Starbuck exhorts Ahab one last time to desist, observing that "Moby-Dick seeks thee not. It is thou, thou, that madly seekest him!"
  
  Ahab ignores this voice of reason and continues with his ill-fated chase. As the three boats sail out to hunt him, Moby Dick damages two of them, forcing them to go back to the ship and leaving only Ahab's vessel intact. Ahab harpoons the whale, but the harpoon-line breaks. Moby Dick then rams the Pequod itself, which begins to sink. As Ahab harpoons the whale again, the unfolding harpoon-line catches him around his neck and he is dragged into the depths of the sea by the diving Moby Dick. The boat is caught up in the whirlpool of the sinking ship, which takes almost all the crew to their deaths. Only Ishmael survives, clinging to Queequeg’s coffin-turned-life buoy for an entire day and night before the Rachel rescues him.
  Characters
  
  The crew-members of the Pequod are carefully drawn stylizations of human types and habits; critics have often described the crew as a "self-enclosed universe".
  Ishmael
  
  The name has come to symbolize orphans, exiles, and social outcasts — in the opening paragraph of Moby-Dick, Ishmael tells the reader that he has turned to the sea out of a feeling of alienation from human society. In the last line of the book, Ishmael also refers to himself symbolically as an orphan. Maintaining the Biblical connection and emphasising the representation of outcasts, Ishmael is also the name of the son Abraham has with the slave girl Hagar before Isaac is born. In Genesis 21:10 Abraham's wife, Sarah, has Hagar and Ishmael exiled into the desert. Ishmael has a rich literary background (he has previously been a schoolteacher), which he brings to bear on his shipmates and events that occur while at sea.
  Elijah
  
  The character Elijah (named for the Biblical prophet, Elijah, who is also referred to in the King James Bible as Elias), on learning that Ishmael and Queequeg have signed onto Ahab's ship, asks, "Anything down there about your souls?" When Ishmael reacts with surprise, Elijah continues:
  
   "Oh, perhaps you hav'n't got any," he said quickly. "No matter though, I know many chaps that hav'n't got any — good luck to 'em; and they are all the better off for it. A soul's a sort of a fifth wheel to a wagon."
  
  Later in the conversation, Elijah adds:
  
   "Well, well, what's signed, is signed; and what's to be, will be; and then again, perhaps it wont be, after all. Any how, it's all fixed and arranged a'ready; and some sailors or other must go with him, I suppose; as well these as any other men, God pity 'em! Morning to ye, shipmates, morning; the ineffable heavens bless ye; I'm sorry I stopped ye."
  
  Ahab
  
  Ahab is the tyrannical captain of the Pequod who is driven by a monomaniacal desire to kill Moby Dick, the whale that maimed him on the previous whaling voyage. Despite the fact that he's a Quaker, he seeks revenge in defiance of his religion's well-known pacifism. Ahab's name comes directly from the Bible (see 1 Kings 16:28).
  
  Little information is provided about Ahab's life prior to meeting Moby Dick, although it is known that he was orphaned at a young age. When discussing the purpose of his quest with Starbuck, it is revealed that he first began whaling at eighteen and has continued in the trade for forty years, having spent less than three on land. He also mentions his "girl-wife," whom he married late in life, and their young son, but does not give their names.
  
  In Ishmael's first encounter with Ahab's name, he responds "When that wicked king was slain, the dogs, did they not lick his blood?" (Moby-Dick, Chapter 16).
  
  Ahab ultimately dooms the crew of the Pequod (save for Ishmael) to death by his obsession with Moby Dick. During the final chase, Ahab hurls his final harpoon while yelling his now-famous revenge line:
  
   ... to the last I grapple with thee; from hell's heart I stab at thee; for hate's sake I spit my last breath at thee.
  
  The harpoon becomes lodged in Moby Dick's flesh and Ahab, caught around the neck by a loop in his own harpoon's rope and unable to free himself, is dragged into the cold oblivion of the sea with the injured whale. The mechanics of Ahab's death are richly symbolic. He is literally killed by his own harpoon, and symbolically killed by his own obsession with revenge. The whale eventually destroys the whaleboats and crew, and sinks the Pequod.
  
  Ahab has the qualities of a tragic hero — a great heart and a fatal flaw — and his deeply philosophical ruminations are expressed in language that is not only deliberately lofty and Shakespearian, but also so heavily iambic as often to read like Shakespeare's own pentameters.
  
  Ahab's motivation for hunting Moby Dick is perhaps best summed up in the following passage:
  
   The White Whale swam before him as the monomaniac incarnation of all those malicious agencies which some deep men feel eating in them, till they are left living on with half a heart and half a lung. That intangible malignity which has been from the beginning; to whose dominion even the modern Christians ascribe one-half of the worlds; which the ancient Ophites of the east reverenced in their statue devil; -- Ahab did not fall down and worship it like them; but deliriously transferring its idea to the abhorred white whale, he pitted himself, all mutilated, against it. All that most maddens and torments; all that stirs up the lees of things; all truth with malice in it; all that cracks the sinews and cakes the brain; all the subtle demonisms of life and thought; all evil, to crazy Ahab, were visibly personified, and made practically assailable in Moby-Dick. He piled upon the whale's white hump the sum of all the general rage and hate felt by his whole race from Adam down; and then, as if his chest had been a mortar, he burst his hot heart's shell upon it.
  
  Moby Dick
  
  He is a giant, albino Sperm whale and the main antagonist of the novel. He had bitten off Ahab's leg, and Ahab swore revenge. The cetacean also attacked the Rachel and killed the captain's son. He appears at the end of the novel and kills the entire crew with the exception of Ishmael. Unlike the other characters, the reader does not have access to Moby Dick's thoughts and motivations, but the whale is still an integral part of the novel. Moby Dick is sometimes considered to be a symbol of a number of things, among them God, nature, fate, the ocean, and the very universe itself.
  Mates
  
  The three mates of the Pequod are all from New England.
  Starbuck
  
  Starbuck, the young first mate of the Pequod, is a thoughtful and intellectual Quaker from Nantucket.
  
   Uncommonly conscientious for a seaman, and endued with a deep natural reverence, the wild watery loneliness of his life did therefore strongly incline him to superstition; but to that sort of superstition, which in some organization seems rather to spring, somehow, from intelligence than from ignorance... [H]is far-away domestic memories of his young Cape wife and child, tend[ed] to bend him ... from the original ruggedness of his nature, and open him still further to those latent influences which, in some honest-hearted men, restrain the gush of dare-devil daring, so often evinced by others in the more perilous vicissitudes of the fishery. "I will have no man in my boat," said Starbuck, "who is not afraid of a whale." By this, he seemed to mean, not only that the most reliable and useful courage was that which arises from the fair estimation of the encountered peril, but that an utterly fearless man is a far more dangerous comrade than a coward.
   — Moby-Dick, Ch. 26
  
  Little is said about Starbuck's early life, except that he is married with a son. Unlike Ahab's wife, who remains nameless, Starbuck gives his wife's name as Mary. Such is his desire to return to them, that when nearly reaching the last leg of their quest for Moby Dick, he considers arresting or even killing Ahab with a loaded musket, one of several which is kept by Ahab (in a previous chapter Ahab threatens Starbuck with one when Starbuck disobeys him, despite Starbuck's being in the right) and turning the ship back, straight for home.
  
  Starbuck is alone among the crew in objecting to Ahab's quest, declaring it madness to want revenge on an animal, which lacks reason. Starbuck advocates continuing the more mundane pursuit of whales for their oil. But he lacks the support of the crew in his opposition to Ahab, and is unable to persuade them to turn back. Despite his misgivings, he feels himself bound by his obligations to obey the captain.
  
  Starbuck was an important Quaker family name on Nantucket Island, and there were several actual whalemen of this period named "Starbuck," as evidenced by the name of Starbuck Island in the South Pacific whaling grounds. The multinational coffee chain Starbucks was named after Starbuck, not for any affinity for coffee but after the name Pequod was rejected by one of the co-founders.
  Stubb
  
  Stubb, the second mate of the Pequod, is from Cape Cod, and always seems to have a pipe in his mouth and a smile on his face. "Good-humored, easy, and careless, he presided over his whaleboat as if the most deadly encounter were but a dinner, and his crew all invited guests." (Moby-Dick, Ch. 27) Although he is not an educated man, Stubb is remarkably articulate, and during whale hunts keeps up an imaginative patter reminiscent of that of some characters in Shakespeare. Scholarly portrayals range from that of an optimistic simpleton to a paragon of lived philosophic wisdom.
  Flask
  
  Flask is the third mate of the Pequod. He is from Martha's Vineyard.
  
   King Post is his nickname because he is a short, stout, ruddy young fellow, very pugnacious concerning whales, who somehow seemed to think that the great Leviathans had personally and hereditarily affronted him; and therefore it was a sort of point of honor with him, to destroy them whenever encountered.
   — Moby-Dick, Ch. 27
  
  Harpooneers
  
  The harpooneers of the Pequod are all non-Christians from various parts of the world. Each serves on a mate's boat.
  Queequeg
  Main article: Queequeg
  
  Queequeg hails from the fictional island of Kokovoko in the South Seas, inhabited by a cannibal tribe, and is the son of the chief of his tribe. Since leaving the island, he has become extremely skilled with the harpoon. He befriends Ishmael very early in the novel, when they meet in New Bedford, Massachusetts before leaving for Nantucket. He is described as existing in a state between civilized and savage. For example, Ishmael recounts with amusement how Queequeg feels it necessary to hide himself when pulling on his boots, noting that if he were a savage he wouldn't consider boots necessary, but if he were completely civilized he would realize there was no need to be modest when pulling on his boots.
  
  Queequeg is the harpooneer on Starbuck's boat, where Ishmael is also an oarsman. Queequeg is best friends with Ishmael in the story. He is prominent early in the novel, but later fades in significance, as does Ishmael.
  Tashtego
  
  Tashtego is described as a Native American harpooneer. The personification of the hunter, he turns from hunting land animals to hunting whales. Tashtego is the harpooneer on Stubb's boat.
  
   Next was Tashtego, an unmixed Indian from Gay Head, the most westerly promontory of Martha’s Vineyard, where there still exists the last remnant of a village of red men, which has long supplied the neighboring island of Nantucket with many of her most daring harpooneers. In the fishery, they usually go by the generic name of Gay-Headers.
   — Moby-Dick, Ch.27
  
  Daggoo
  
  Daggoo is a gigantic (6'5") African harpooneer from a coastal village with a noble bearing and grace. He is the harpooneer on Flask's boat.
  Fedallah
  
  Fedallah is the harpooneer on Ahab's boat. He is of Persian Zoroastrian ("Parsi") descent. Because of descriptions of him having lived in China, he might have been among the great wave of Parsi traders who made their way to Hong Kong and the Far East from India during the mid-19th century. At the time when the Pequod sets sail, Fedallah is hidden on board, and he emerges with Ahab's boat's crew later on, to the surprise of the crew. Fedallah is referred to in the text as Ahab's "Dark Shadow." Ishmael calls him a "fire worshipper" and the crew speculates that he is a devil in man's disguise. He is the source of a variety of prophecies regarding Ahab and his hunt for Moby Dick. Ishmael describes him thus, standing by Ahab's boat:
  
   The figure that now stood by its bows was tall and swart, with one white tooth evilly protruding from its steel-like lips. A rumpled Chinese jacket of black cotton funereally invested him, with wide black trowsers of the same dark stuff. But strangely crowning this ebonness was a glistening white plaited turban, the living hair braided and coiled round and round upon his head.
   — Moby-Dick, Ch.48
  
  Other notable characters
  
  Pip (nicknamed "Pippin," but "Pip" for short) is a black boy from Tolland County, Connecticut who is "the most insignificant of the Pequod's crew". Because he is physically slight, he is made a ship-keeper, (a sailor who stays in the Pequod while its whaleboats go out). Ishmael contrasts him with the "dull and torpid in his intellects" — and paler and much older — steward Dough-Boy, describing Pip as "over tender-hearted" but "at bottom very bright, with that pleasant, genial, jolly brightness peculiar to his tribe". Ishmael goes so far as to chastise the reader: "Nor smile so, while I write that this little black was brilliant, for even blackness has its brilliancy; behold yon lustrous ebony, panelled in king's cabinets."
  
  The after-oarsman on Stubb's boat is injured, however, so Pip is temporarily reassigned to Stubb's whaleboat crew. The first time out, Pip jumps from the boat, causing Stubb and Tashtego to lose their already-harpooned whale. Tashtego and the rest of the crew are furious; Stubb chides him "officially" and "unofficially", even raising the specter of slavery: "a whale would sell for thirty times what you would, Pip, in Alabama". The next time a whale is sighted, Pip again jumps overboard and is left stranded in the "awful lonesomeness" of the sea while Stubb's and the others' boats are dragged along by their harpooned whales. By the time he is rescued, he has become (at least to the other sailors) "an idiot", "mad". Ishmael, however, thought Pip had a mystical experience: "So man's insanity is heaven's sense." Pip and his experience are crucial because they serve as foreshadowing, in Ishmael's words "providing the sometimes madly merry and predestinated craft with a living and ever accompanying prophecy of whatever shattered sequel might prove her own." Pip's madness is full of poetry and eloquence; he is reminiscent of Tom in King Lear. Ahab later sympathizes with Pip and takes the young boy under his wing.
  
  Dough-boy is the pale, nervous steward of the ship. The Cook (Fleece), Blacksmith (Perth) and Carpenter of the ship are each highlighted in at least one chapter near the end of the book. Fleece, a very old African-American with bad knees, is presented in the chapter "Stubb Kills a Whale" at some length in a dialogue where Stubb good-humoredly takes him to task over how to prepare a variety of dishes from the whale's carcass. Ahab calls on the Carpenter to fashion a new whalebone leg after the one he wears is damaged; later he has Perth forge a special harpoon that he carries into the final confrontation with Moby-Dick.
  
  The crew as a whole is exceedingly international, having constituents from both the United States and the world. Chapter 40, "Midnight, Forecastle," highlights, in its stage-play manner (in Shakespearean style), the striking variety in the sailors' origins. A partial list of the speakers includes sailors from the Isle of Man, France, Iceland, the Netherlands, the Azores, Sicily and Malta, China, Denmark, Portugal, India, England, Spain and Ireland.
  Critical reception
  Melville's expectations
  
  In a letter to Nathaniel Hawthorne written within days of Moby-Dick's American publication, Melville made a number of revealing comments:
  
   ... for not one man in five cycles, who is wise, will expect appreciative recognition from his fellows, or any one of them. Appreciation! Recognition! Is Jove appreciated? Why, ever since Adam, who has got to the meaning of his great allegory—the world? Then we pigmies must be content to have our paper allegories but ill comprehended. I say your appreciation is my glorious gratuity.
  
   A sense of unspeakable security is in me this moment, on account of your understanding the book. I have written a wicked book, and feel spotless as the lamb. Ineffable sociabilities are in me. I would sit down and dine with you and all the gods in old Rome's Pantheon. It is a strange feeling—no hopefulness is in it, no despair. Content—that is it; and irresponsibility; but without licentious inclination. I speak now of my profoundest sense of being, not of an incidental feeling.
  
   You did not care a penny for the book. But, now and then as you read, you understood the pervading thought that impelled the book—and that you praised. Was it not so? You were archangel enough to despise the imperfect body, and embrace the soul.
  
  Contemporary
  
  Moby-Dick received decidedly mixed reviews from critics at the time it was published. Since the book first appeared in England, the American literary establishment took note of what the English critics said, especially when these critics were attached to the more prestigious journals. Although many critics praised it for its unique style, interesting characters and poetic language, others agreed with a critic for the highly regarded London Athenaeum, who described it as: "[A]n ill-compounded mixture of romance and matter-of-fact. The idea of a connected and collected story has obviously visited and abandoned its writer again and again in the course of composition. The style of his tale is in places disfigured by mad (rather than bad) English; and its catastrophe is hastily, weakly, and obscurely managed."
  
  One problem was that publisher Peter Bentley botched the English edition, most significantly in omitting the (somewhat perfunctory[citation needed]) epilogue. For this reason, many of the critics faulted the book on what little they could grasp of it, namely on purely formal grounds, e.g., how the tale could have been told if no one survived to tell it. The generally bad reviews from across the ocean made American readers skittish about picking up the tome. Still, a handful of American critics saw much more in it than most of their U.S. and English colleagues. Hawthorne said of the book: "What a book Melville has written! It gives me an idea of much greater power than his preceding ones". Perhaps the most perceptive review came from the pen of Evert Augustus Duyckinck, a friend of Melville who was able to introduce Melville to Hawthorne.
  Underground
  
  Within a year after Melville's death, Moby-Dick, along with Typee, Omoo and Mardi, was reprinted by Harper & Brothers, giving it a chance to be rediscovered. However, only New York's literary underground seemed to take much interest, just enough to keep Melville's name circulating for the next 25 years in the capital of American publishing. During this time, a few critics were willing to devote time, space, and a modicum of praise to Melville and his works, or at least those that could still be fairly easily obtained or remembered. Other works, especially the poetry, went largely forgotten.
  
  Then came World War I and its consequences, particularly the shaking or destruction of faith in so many aspects of Western civilization, all of which caused people concerned with culture and its potential redemptive value to experiment with new aesthetic techniques. The stage was set for Melville to find his place.
  The Melville Revival
  
  With the burgeoning of Modernist aesthetics (see Modernism and American modernism) and the war that tore everything apart still so fresh in memory, Moby-Dick began to seem increasingly relevant. Many of Melville's techniques echo those of Modernism: kaleidoscopic, hybrid in genre and tone, monumentally ambitious in trying to unite so many disparate elements and loose ends. His new readers also found in him an almost too-profound exploration of violence, hunger for power, and quixotic goals. Although many critics of this time still considered Moby-Dick extremely difficult to come to grips with, they largely saw this lack of easy understanding as an asset rather than a liability.[citation needed]
  
  In 1917, American author Carl Van Doren became the first of this period to proselytize about Melville's value.[citation needed]
  
  In the 1920s, British literary critics began to take notice. In his idiosyncratic but landmark Studies in Classic American Literature, novelist, poet, and short story writer D. H. Lawrence directed Americans' attention to the great originality and value of many American authors, among them Melville. Perhaps most surprising is that Lawrence saw Moby-Dick as a work of the first order despite his using the original English edition.
  
  In his 1921 study, The American Novel, Carl Van Doren returns to Melville with much more depth. Here he calls Moby-Dick a pinnacle of American Romanticism.
  Post-revival
  
  The next great wave of Moby-Dick appraisal came with the publication of F. O. Matthiessen's American Renaissance: Art and Expression in the Age of Emerson and Whitman. Published in 1941, the book proposed that Emerson, Whitman, Thoreau, Hawthorne, and Melville were the most prominent figures of a flowering of conflicted (and mostly pre-Civil War) literature important for its promulgation of democracy and the exploration of its possibilities, successes, and failures. Since Matthiessen's book came out shortly before the entry of the U.S. into World War II, the end of which found the U.S. in possession of the atomic bomb and thus a superpower, critic Nick Selby argues that
  
   … Moby-Dick was now read as a text that reflected the power struggles of a world concerned to uphold democracy, and of a country seeking an identity for itself within that world.
  
  On October 9, 2008, the Massachusetts House of Representatives passed a bill naming Moby-Dick Massachusetts' official “epic novel.”
1.海与鲸的诱惑
  很多年以前,那时我的钱包瘪瘪的,陆地上看来没什么好混得了,干脆下海吧,去在我们这个世界上占绝对面积的大海里逛逛吧!
   这已是我惟一的去处了。
   每当我心烦气躁、肝火直升脑门时;每当我心忧绪乱、眼前一片11月的愁云惨雾时;每当我身不由己,跟着不相干的送葬队伍走向墓地时;每当我忍无可忍,马上就要在街上像脱缰的野马一样横冲直撞时,我都得赶紧去出海!
   只有出海可以阻止我对自己举起枪!
   我没有伽图那一边吟诵诗歌一边拔剑自刎的勇气,只能悄悄地走上船去。
   怎么样,朋友,你有类似的感情经历吗?我始终相信,不论是谁,在某一个特定的时刻,他都会对海洋产生类似的情绪的。
   噢,我的姓名!其实这无关紧要,好了,你就叫我以实玛利吧。
   我们现在看到的就是曼哈顿岛,它的四周布满了商业味儿十足的码头,城里的每一条街道几乎都能引导你走向码头、走向海边。
   炮台前的防浪堤迎击着海浪,观海的人们远远地散着步。
   我们不妨找一个安息日的下午,在那种如诗如梦的阳光下,去城里转上一圈。可你首先看到的还是海边上那一群群对着大海伫立凝望的人。
   他们或站或坐、或倚柱或靠墙,遥望着自中国而来的船只的船舷,入迷地欣赏着开进开出的大小船舶。
   这些平常生活在柜台、凳子、写字台和墙壁之间的人,他们怎么都跑到海边来了?难道田畴原野、一马平川的陆地都消失了?
   看,又来了一大群人,他们直奔海边,要跳海吗?
   噢,真有意思,他们要尽可能地靠近大海,他们要走到陆地的边缘。这些来自内陆的人们,站满了海边,绵延十几海里。
   我甚至怀疑,是不是船上的指南针的磁力把他们吸来的啊!
   肯定有什么类似磁力的神奇力量!就是在陆地上,我们不也是有这样的经验吗!沿着随便一条路走下去,早晚会走到河边、湖畔、溪流之侧。
   你可以实验一下,随便找一个哪怕完全心不在焉的人,让他信马由缰地走动起来,他准会走到有水的地方。
   如果这个人在思索着什么形而上学的东西,那结果就更是如此了。如果你在沙漠中迷失了方向,身边又恰巧有一位哲学教授,那你就不必惊慌了,因为思索是与水有着天然的联系的。
   一位出色的风景画家为牧羊人画了一幅画儿,有白云有原野、有森林有羊群、有袅袅的炊烟和在山峦间起伏的小路,可是,如果这位牧羊人不注视着他眼前的一条河,那么这幅画儿就会失去任何活力的。
   如果六月的草原没有一滴水,如果尼亚加拉瀑布流下来的只是些没有生命的黄沙,那么,你还会去那魂牵梦绕的草原、瀑布吗?
   没有了水,就没有了一切。
   有位徒步旅行的穷诗人,在意外地得到了一点钱以后,犹豫了,是买一件衬衣?还是去海边远足一趟?
   每一位身强力壮的小伙子几乎都想出海去闯一闯;而每一位上了船的人,在知道望不见陆地了的时候,心里都会咯噔一下。
   古代波斯人以海为神,希腊人更把海看作神的亲兄弟,而那位在水边顾影自怜的美男子那西萨斯,终于投身水底。
   每一个人都会在水中留下永远抓寻不到的影子,它喻示着我们人类的什么奥妙吗?
   我身上这种与水的天然联系,每每在我走投无路、愁肠百结时它都会解救我,引我到海上去。
   我到海上,不是做旅客的,因为那需要鼓鼓的钱包,我是作不起那又晕船又失眠的旅客的。
   当然,我更当不起船夫、大副甚至厨师了,尽管论资格我算得上老水手了。
   这些风光的职位,还是让那些喜欢风光的人干吧,我能把自己看好已经不错了,管不了什么桅啊帆啊的,当然更管不了那些操纵这家什的人了。
   不当厨师,那倒纯粹是因为没有兴趣。这并不妨碍我对厨师的作品感兴趣。面对一只烤好的鸡,牛油涂得均匀、胡椒撒得周到的鸡,我会第一个叫好的。
   古埃及人对烤朱鹭、烧河马之类的东西就很有好感,他们的金字塔里,现在还可以见到这些东西的木乃伊。
   我在船上只是一个普普通通的水手。
   我像只蚂蚱一样,一会儿蹦到桅杆顶上、一会儿又跳进水手舱里,他们呼来唤去地使唤我,很伤了些我的自尊心,一开始很让人不痛快。
   如果你出身名门望族,像什么范·伦斯勒家族、伦道夫家族、哈狄卡纽特族,如果你那不得不伸入柏油筒里的手,不久前还曾在教室里威严地挥舞,那你就更觉得不痛快了。
   这样的反差实在让人有点难以接受,得有点苦行学派的顽强才能挺过来,一旦挺过来了,所有的不舒服、不痛快也就烟消云散了。
   想想吧,那个大块头的船长吆喝我去打扫地板,我打扫就是了,算得了什么羞辱?在《圣经》面前,这不算什么。
   人们总是在互相拥挤,你打我、我打你,谁也脱不了被别人奴役的命运——从形而下和形而上两个角度看均是如此。
   所以,人们在互相推挤之后,还是要互相抚摸一下创口,安分下来的。
   况且,我在船上不是旅客,我是水手,我是要挣他们的钱的啊!你没听说过给旅客钱的事吧,旅客得往外掏钱。
   往外掏钱和往里挣钱是完全不同的两回事。我想,掏钱是那两个偷果子吃的贼给我们带来的最大的不幸;而挣钱,那是这世上有数的几件大好事之一了。
   想想我们接受别人给你的钱时你那温文尔雅、彬彬有礼的优雅姿态吧,对于大家公认的这种万恶之源的东西,我们接受起来是那么喜不自胜,甘心情愿地让自己沦落在万劫不复的地步去。
   大海上的劳动和大海上的空气,于我们的身心是绝对有益的。海上行船,顶风永远比顺风多,所以船头上的水手永远比船尾的船长、大副们先呼吸到新鲜空气!
   对于这一点,他们一点也不知道,还以为是自己先呼吸到的呢!在很多事情上,都是如此,老百姓经常领导他们的领袖,而那些领袖们却浑然不知。
   以前我都是在商船上当水手的,这回却鬼使神差地上了捕鲸船。命运之神在冥冥中左右着我,这是他老人家在很早很早以前就安排好了的,它是现在正上演的两出大戏之间的一出小戏,节目单大约可以这样写:
   美国总统竞选
   以实玛利出海捕鲸
   阿富汗斯坦大战
   命运之神也真逗,让别人去扮演那些雍容华贵、颐指气使、轻松愉快、悲壮英勇的角色,却让我去演这么个捕鲸的小人物。
   没办法,回想上船以前种种偶然与必然的大事小情,我当时还以为自己作出上这条船的决定是经过缜密思考的呢!
   引我上船的最大原因是那条著名的大鲸鱼。它如山的身体在波涛中滑行的神秘形象激起了我强烈的好奇心。关于它的种种惊险怪奇的传说深深地吸引了我,让我这个一向对不可知的东西充满了天然的兴趣的人心痒难熬。
   冒险和探奇是埋在我心里的种子,一有土壤与水分,它们就会迅速地发芽、生长,让我不顾一切地向那未知之物奔驰而去。
   我投身大海,迎面遇上成双成对的大小鲸鱼,与我嬉戏玩耍,掀动我灵魂深处那神秘的影子,让它活起来。动起来,成为一座铺天盖地大的狰狞的巨兽。
   对于这些航行,我真是求之不得啊!


  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. It is a way I have of driving off the spleen and regulating the circulation. 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. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.
   There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs--commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there.
   Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see?--Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks glasses! of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster-- tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?
   But look! here come more crowds, pacing straight for the water, and seemingly bound for a dive. Strange! Nothing will content them but the extremest limit of the land; loitering under the shady lee of yonder warehouses will not suffice. No. They must get just as nigh the water as they possibly can without falling in. And there they stand--miles of them--leagues. Inlanders all, they come from lanes and alleys, streets and avenues,-- north, east, south, and west. Yet here they all unite. Tell me, does the magnetic virtue of the needles of the compasses of all those ships attract them thither?
   Once more. Say you are in the country; in some high land of lakes. Take almost any path you please, and ten to one it carries you down in a dale, and leaves you there by a pool in the stream. There is magic in it. Let the most absent-minded of men be plunged in his deepest reveries--stand that man on his legs, set his feet a-going, and he will infallibly lead you to water, if water there be in all that region. Should you ever be athirst in the great American desert, try this experiment, if your caravan happen to be supplied with a metaphysical professor. Yes, as every one knows, meditation and water are wedded for ever.
   But here is an artist. He desires to paint you the dreamiest, shadiest, quietest, most enchanting bit of romantic landscape in all the valley of the Saco. What is the chief element he employs? There stand his trees, each with a hollow trunk, as if a hermit and a crucifix were within; and here sleeps his meadow, and there sleep his cattle; and up from yonder cottage goes a sleepy smoke. Deep into distant woodlands winds a mazy way, reaching to overlapping spurs of mountains bathed in their hill-side blue. But though the picture lies thus tranced, and though this pine-tree shakes down its sighs like leaves upon this shepherd's head, yet all were vain, unless the shepherd's eye were fixed upon the magic stream before him. Go visit the Prairies in June, when for scores on scores of miles you wade knee-deep among Tiger-lilies--what is the one charm wanting?-- Water there is not a drop of water there! Were Niagara but a cataract of sand, would you travel your thousand miles to see it? Why did the poor poet of Tennessee, upon suddenly receiving two handfuls of silver, deliberate whether to buy him a coat, which he sadly needed, or invest his money in a pedestrian trip to Rockaway Beach? Why is almost every robust healthy boy with a robust healthy soul in him, at some time or other crazy to go to sea? Why upon your first voyage as a passenger, did you yourself feel such a mystical vibration, when first told that you and your ship were now out of sight of land? Why did the old Persians hold the sea holy? Why did the Greeks give it a separate deity, and own brother of Jove? Surely all this is not without meaning. 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.
   Now, when I say that I am in the habit of going to sea whenever I begin to grow hazy about the eyes, and begin to be over conscious of my lungs, I do not mean to have it inferred that I ever go to sea as a passenger. For to go as a passenger you must needs have a purse, and a purse is but a rag unless you have something in it. Besides, passengers get sea-sick-- grow quarrelsome--don't sleep of nights--do not enjoy themselves much, as a general thing;--no, I never go as a passenger; nor, though I am something of a salt, do I ever go to sea as a Commodore, or a Captain, or a Cook. I abandon the glory and distinction of such offices to those who like them. For my part, I abominate all honorable respectable toils, trials, and tribulations of every kind whatsoever. It is quite as much as I can do to take care of myself, without taking care of ships, barques, brigs, schooners, and what not. And as for going as cook,--though I confess there is considerable glory in that, a cook being a sort of officer on ship-board--yet, somehow, I never fancied broiling fowls;--though once broiled, judiciously buttered, and judgmatically salted and peppered, there is no one who will speak more respectfully, not to say reverentially, of a broiled fowl than I will. It is out of the idolatrous dotings of the old Egyptians upon broiled ibis and roasted river horse, that you see the mummies of those creatures in their huge bakehouses the pyramids.
   No, when I go to sea, I go as a simple sailor, right before the mast, plumb down into the fore-castle, aloft there to the royal mast-head. True, they rather order me about some, and make me jump from spar to spar, like a grasshopper in a May meadow. And at first, this sort of thing is unpleasant enough. It touches one's sense of honor, particularly if you come of an old established family in the land, the Van Rensselaers, or Randolphs, or Hardicanutes. And more than all, if just previous to putting your hand into the tar-pot, you have been lording it as a country schoolmaster, making the tallest boys stand in awe of you. The transition is a keen one, I assure you, from a schoolmaster to a sailor, and requires a strong decoction of Seneca and the Stoics to enable you to grin and bear it. But even this wears off in time.
   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? Do you think the archangel Gabriel thinks anything the less of me, because I promptly and respectfully obey that old hunks in that particular instance? Who ain't a slave? Tell me that. Well, then, however the old sea-captains may order me about--however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way-- either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other's shoulder-blades, and be content.
   Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of. On the contrary, passengers themselves must pay. And there is all the difference in the world between paying and being paid. The act of paying is perhaps the most uncomfortable infliction that the two orchard thieves entailed upon us. But being paid,-- what will compare with it? The urbane activity with which a man receives money is really marvellous, considering that we so earnestly believe money to be the root of all earthly ills, and that on no account can a monied man enter heaven. Ah! how cheerfully we consign ourselves to perdition!
   Finally, I always go to sea as a sailor, because of the wholesome exercise and pure air of the fore-castle deck. For as in this world, head winds are far more prevalent than winds from astern (that is, if you never violate the Pythagorean maxim), so for the most part the Commodore on the quarter-deck gets his atmosphere at second hand from the sailors on the forecastle. He thinks he breathes it first; but not so. In much the same way do the commonalty lead their leaders in many other things, at the same time that the leaders little suspect it. But wherefore it was that after having repeatedly smelt the sea as a merchant sailor, I should now take it into my head to go on a whaling voyage; this the invisible police officer of the Fates, who has the constant surveillance of me, and secretly dogs me, and influences me in some unaccountable way-- he can better answer than any one else. And, doubtless, my going on this whaling voyage, formed part of the grand programme of Providence that was drawn up a long time ago. It came in as a sort of brief interlude and solo between more extensive performances. I take it that this part of the bill must have run something like this:
   "Grand Contested Election for the Presidency of the United States. "WHALING VOYAGE BY ONE ISHMAEL." "BLOODY BATTLE IN AFFGHANISTAN."
   Though I cannot tell why it was exactly that those stage managers, the Fates, put me down for this shabby part of a whaling voyage, when others were set down for magnificent parts in high tragedies, and short and easy parts in genteel comedies, and jolly parts in farces-- though I cannot tell why this was exactly; yet, now that I recall all the circumstances, I think I can see a little into the springs and motives which being cunningly presented to me under various disguises, induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased freewill and discriminating judgment.
   Chief among these motives was the overwhelming idea of the great whale himself. Such a portentous and mysterious monster roused all my curiosity. Then the wild and distant seas where he rolled his island bulk; the undeliverable, nameless perils of the whale; these, with all the attending marvels of a thousand Patagonian sights and sounds, helped to sway me to my wish. With other men, perhaps, such things would not have been inducements; but as for me, I am tormented with an everlasting itch for things remote. I love to sail forbidden seas, and land on barbarous coasts. Not ignoring what is good, I am quick to perceive a horror, and could still be social with it--would they let me--since it is but well to be on friendly terms with all the inmates of the place one lodges in.
   By reason of these things, then, the whaling voyage was welcome; the great flood-gates of the wonder-world swung open, and in the wild conceits that swayed me to my purpose, two and two there floated into my inmost soul, endless processions of the whale, and, mid most of them all, one grand hooded phantom, like a snow hill in the air.
2.新贝德福之夜
  几件衣服充作行囊,我便动了身。
   远离曼哈顿,奔到新贝德福,没赶上开往南塔开特的邮船,只得等下星期一了。
   这是一个星期六,12月的一个星期六,看来注定要无聊地度过一个周末了。
   一般去合恩角都这样走,从新贝德福上船。可我一定要从那捕鲸船最早的出发地南塔开特出发,尽管新贝德福已经很繁华,但它毕竟不是人们把第一只北美洲的死鲸拖上岸的地方。那些红种人士着,当年就是从南塔开特乘独木舟去海上捕鲸鱼的;还有那最早的捕鲸单桅帆船,船上载着鹅卵石——这就是他们捕鲸的武器——也是从南塔开特出发的。
   可如今要在新贝德福呆上两天,确切说是一天两夜,才能去南塔开特。吃饭睡觉问题怎么解决?
   在这寒风刺骨的夜晚,我伫立在冷冷清清的街头,举目无亲、走投无路的感觉袭上心头。
   摸摸兜里的那几个小钱,我心里默念着:以实玛利啊,不论命运把你引向哪里,你可都要先问问价钱啊!
   街道上结着厚厚的冰,冷硬坚滑,映着一个又一个店面里射出来的灯光。噢,这是“标枪客店”,这是“剑鱼客店”,杯盏之声伴着欢声笑语洒向窗外,我毫不犹豫地向前走着,他们太快活了,也太能花钱了。
   以实玛利啊,你还得向前走,你的那双破鞋可迈不进那高门槛,向那些不那么辉煌灿烂的地方走走吧,那地方的旅店虽然不是最好,但肯定是最便宜。
   街道两侧暗了下来,偶或有那么一两点烛光,鬼火般在黑暗中闪烁。远远地,我看见一座矮房子,房门大敞,一丝微光泄了出来。好像在很随意地欢迎着客人的到来。
   我几乎是理直气壮地走了进去,一堆垃圾毫不客气地绊了我一个跟斗,纷飞的灰尘差点憋死我!
   好啊,这里不是“标枪客店”、不是“剑鱼客店”,却是个“陷阱客店”。
   一阵刺耳的喧哗引得我爬起来以后迅速推开了第二道门,啊,一排黑脸齐刷刷地转向了我,另一位黑面孔的朋友正在讲台上拍打着一本书,让他的听众们集中精力。这是个黑人教堂。我退了出来,继续向前。
   在离码头很近的地方,一块白晃晃的招牌在蒙蒙的雾气里时隐时现,我紧走几步,在天空中一声什么怪鸟儿的嘎嘎怪叫中,我看清了牌子上的字:“鲸鱼客店——彼德·科芬。”科芬!(棺材的音译)鲸鱼!
   将这二者相连,棺材和鲸鱼,我感到后脊梁一阵冰凉。
   不过,据说南塔开特姓这个姓的人不少,那么这个彼德是从南塔开特来的喽!当然,更主要的是,从它破败的外观看,这家客店一定十分便宜,说不定还有味道不错的土咖啡呢!我迈步走了进去。
   这是座像得了半身不遂病的破房子,北风呼啸之中,一副摇摇欲坠的样子。
   不过,你如果在屋子里面而不是在屋子外面,两脚搭在炉子上,悠闲地喝着咖啡,那么这呼啸的风声就纯粹是一支催眠曲了。
   古代一位著名的作家曾经说过:“要判定这狂风冷雨的好坏,那要看下判断的人的位置:是隔着满是冰花儿的玻璃向外看,还是不隔着什么东西,里外一样冷地向外看。惟一的玻璃安装工就是死神!”
   这段话清晰地浮现在我眼前,我觉得我自己就是这座房子,两只眼睛便是两扇窗户。
   按照那位古代作家的话进行改良已经来不及了,宇宙的结构已经完工了,一切都无以改变了。怎么办?可怜的拉撒路只好在冷风中瑟缩颤抖了,颤抖得身上仅有的几条破布片也掉在了地上。而就在此时,那位身着紫袍的老财主则志得意满地叫道:“哈,冰天雪地狂风怒吼的景致多么怡人啊!星空灿烂、北极光斑斓,让那些谈论一年到头四季如春的什么鬼气候的家伙们见鬼去吧,我要用炭火创造一个夏天!”
   拉撒路却无法对着一样斑斓的北极光举起他冻青了的双手,他也许在遥想着赤道上的美丽吧!
   他多么想和赤道并排躺在一起啊!也许他没想那么远,只想就近找个火堆钻进去呢!
   老财主在由冰块围绕的温暖如春的宫殿中对屋外的拉撒路的快要冻死,并无任何感觉。他悠闲地踱着步,可并没喝酒。因为他是禁酒协会的会长,他不喝酒,只喝孤儿们的眼泪。
   算了,这么多感慨有什么用呢?反正要去捕鲸了,这样的事儿还多着呢,先进屋去看看吧。


  I stuffed a shirt or two into my old carpet-bag, tucked it under my arm, and started for Cape Horn and the Pacific. Quitting the good city of old Manhatto, I duly arrived in New Bedford. It was on a Saturday night in December. Much was I disappointed upon learning that the little packet for Nantucket had already sailed, and that no way of reaching that place would offer, till the following Monday.
   As most young candidates for the pains and penalties of whaling stop at this same New Bedford, thence to embark on their voyage, it may as well be related that I, for one, had no idea of so doing. 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. Besides though New Bedford has of late been gradually monopolizing the business of whaling, and though in this matter poor old Nantucket is now much behind her, yet Nantucket was her great original-- the Tyre of this Carthage;--the place where the first dead American whale was stranded. Where else but from Nantucket did those aboriginal whalemen, the Red-Men, first sally out in canoes to give chase to the Leviathan? And where but from Nantucket, too, did that first adventurous little sloop put forth, partly laden with imported cobblestones--so goes the story-- to throw at the whales, in order to discover when they were nigh enough to risk a harpoon from the bowsprit?
   Now having a night, a day, and still another night following before me in New Bedford, ere I could embark for my destined port, it became a matter of concernment where I was to eat and sleep meanwhile. It was a very dubious-looking, nay, a very dark and dismal night, bitingly cold and cheerless. I knew no one in the place. 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, and comparing the gloom towards the north with the darkness towards the south--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.
   With halting steps I paced the streets, and passed the sign of "The Crossed Harpoons"--but it looked too expensive and jolly there. Further on, from the bright red windows of the "Sword-Fish Inn," there came such fervent rays, that it seemed to have melted the packed snow and ice from before the house, for everywhere else the congealed frost lay ten inches thick in a hard, asphaltic pavement,--rather weary for me, when I struck my foot against the flinty projections, because from hard, remorseless service the soles of my boots were in a most miserable plight. Too expensive and jolly, again thought I, pausing one moment to watch the broad glare in the street, and hear the sounds of the tinkling glasses within. But go on, Ishmael, said I at last; don't you hear? get away from before the door; your patched boots are stopping the way. So on I went. I now by instinct followed the streets that took me waterward, for there, doubtless, were the cheapest, if not the cheeriest inns.
   Such dreary streets! Blocks of blackness, not houses, on either hand, and here and there a candle, like a candle moving about in a tomb. At this hour of the night, of the last day of the week, that quarter of the town proved all but deserted. But presently I came to a smoky light proceeding from a low, wide building, the door of which stood invitingly open. It had a careless look, as if it were meant for the uses of the public; so, entering, the first thing I did was to stumble over an ash-box in the porch. Ha! thought I, ha, as the flying particles almost choked me, are these ashes from that destroyed city, Gomorrah? But "The Crossed Harpoons," and the "The Sword-Fish?"--this, then must needs be the sign of "The Trap." However, I picked myself up and hearing a loud voice within, pushed on and opened a second, interior door.
   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. It was a negro church; and the preacher's text was about the blackness of darkness, and the weeping and wailing and teeth-gnashing there. Ha, Ishmael, muttered I, backing out, Wretched entertainment at the sign of 'The Trap!'
   Moving on, I at last came to a dim sort of light not far from the docks, and heard a forlorn creaking in the air; and looking up, saw a swinging sign over the door with a white painting upon it, faintly representing a tall straight jet of misty spray, and these words underneath--"The Spouter Inn:--Peter Coffin."
   Coffin?--Spouter?--Rather ominous in that particular connexion, thought I. But it is a common name in Nantucket, they say, and I suppose this Peter here is an emigrant from there. As the light looked so dim, and the place, for the time, looked quiet enough, and the dilapidated little wooden house itself looked as if it might have been carted here from the ruins of some burnt district, and as the swinging sign had a poverty-stricken sort of creak to it, I thought that here was the very spot for cheap lodgings, and the best of pea coffee.
   It was a queer sort of place--a gable-ended old house, one side palsied as it were, and leaning over sadly. It stood on a sharp bleak corner, where that tempestuous wind Euroclydon kept up a worse howling than ever it did about poor Paul's tossed craft. Euroclydon, nevertheless, is a mighty pleasant zephyr to any one in-doors, with his feet on the hob quietly toasting for bed. 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." True enough, thought I, as this passage occurred to my mind--old black-letter, thou reasonest well. Yes, these eyes are windows, and this body of mine is the house. What a pity they didn't stop up the chinks and the crannies though, and thrust in a little lint here and there. But it's too late to make any improvements now. The universe is finished; the copestone is on, and the chips were carted off a million years ago. Poor Lazarus there, chattering his teeth against the curbstone for his pillow, and shaking off his tatters with his shiverings, he might plug up both ears with rags, and put a corn-cob into his mouth, and yet that would not keep out the tempestuous Euroclydon. Euroclydon! says old Dives, in his red silken wrapper--(he had a redder one afterwards) pooh, pooh! What a fine frosty night; how Orion glitters; what northern lights! Let them talk of their oriental summer climes of everlasting conservatories; give me the privilege of making my own summer with my own coals.
   But what thinks Lazarus? Can he warm his blue hands by holding them up to the grand northern lights? Would not Lazarus rather be in Sumatra than here? Would he not far rather lay him down lengthwise along the line of the equator; yea, ye gods! go down to the fiery pit itself, in order to keep out this frost?
   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. Yet Dives himself, he too lives like a Czar in an ice palace made of frozen sighs, and being a president of a temperance society, he only drinks the tepid tears of orphans.
   But no more of this blubbering now, we are going a-whaling, and there is plenty of that yet to come. Let us scrape the ice from our frosted feet, and see what sort of a place this "Spouter" may be.
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