wǒ fù qīn yuán lái zhǐ wàng wǒ xué fǎ lǜ， dàn shì wǒ què yī xīn xiǎng qù háng hǎi。 yòu yī tiān， wǒ qù hè 'ěr， wǒ de yī wèi tóng bàn zhèng yào zuò tā fù qīn de chuán dào lún dūn qù， zài méi yòu shénme bǐ zhè gèng ràng wǒ dòng xīn liǎo， wǒ bì xū gēn tā 'ér qù héng héng zhè shì 1651 nián de 8 yuè， dāng shí wǒ shí jiǔ suì。
chuán gāng shǐ chū hǎi kǒu， biàn pèng dào liǎo kě pà de fēng làng， shǐ wǒ gǎn dào quán shēn shuō bù chū de nán guò， xīn lǐ shí fēn kǒng bù。 wǒ zài tòng kǔ de xīn qíng zhōng fā liǎo shì， jiǎ rú shàng dì zài zhè cì háng xíng zhōng liú xià wǒ de mìng， wǒ zài dēng shàng lù dì hòu， jiù yī zhí huí dào wǒ cí 'ài de fù mǔ shēn biān， cóng cǐ yī dìng tīng cóng tā men de zhōng gào bàn shì。
kě shì dì 'èr tiān fēng tíng liǎo， làng yě xiē liǎo。 tài yáng xī chén， jì zhī 'ér lái de shì yī gè měi lì kě 'ài de huáng hūn， zhè shí yòu hē liǎo wǒ de tóng bàn niàng de yī wǎn tián jiǔ， wǒ jiù bǎ zhè cì háng xíng hòu biàn huí jiā de jué xīn diū dào jiǔ xiāo yún wài qù liǎo。 wǒ de zhè zhǒng xí xìng gěi wǒ de yī shēng zhāo lái liǎo jù dà de bù xìng héng héng rèn xìng de xíng dòng cháng gěi wǒ dài lái zāinàn， kě wǒ zǒng bù kěn zài zāinàn lái lín de shí kè chéng jī huǐ gǎi。 dài dào wēi xiǎn yī guò qù， jiù wàng diào liǎo suǒ yòu de shì yán， yòu bù gù yī qiē dì tóu rù liǎo wǒ de háo wú míng táng de shēng huó。
zài dì yī cì kuáng fēng bào yǔ shìde háng xíng hòu， wǒ yòu yòu guò jǐ cì bù tóng de mào xiǎn。 zài qù fēi zhōu de jǐ nèi yà zuò shēng yì shí， wǒ bèi yī sōu tǔ 'ěr qí de hǎi dào chuán fú lǔ， bèi mài wéi nú lì， jīng guò xǔ duō wēi xiǎn， wǒ táo dào liǎo bā xī， zài nà lǐ dú zì jīng yíng yī gè gān zhè zhòngzhí yuán， shēng huó guò dé hěn shùn suì。 kě zhè shí wǒ què yòu chéng liǎo yòu huò de xī shēng pǐn。 bā xī yīn wéi rén gōng bù zú， yòu jǐ gè zhòngzhí yuán zhù zhī dào wǒ céng wéi zuò shēng yì 'ér dào guò fēi zhōu de yī xiē nú lì shì chǎng kǒu 'àn， tā men jié lì hōng yòu wǒ zuò yī cì háng xíng， dào nà yī dài qù wèitā men de zhòngzhí yuán mǎi xiē hēi nú huí lái。
tīng cóng huài zhù yì， rén jiù huì dǎo méi。 wǒ men de chuán zài nán měi zhōu běi 'àn yī gè wú míng dǎo shàng chù liǎo jiāo， suǒ yòu de shuǐ shǒu jí chéng kè quándōu yān sǐ liǎo， shàng dì bǎo yòu， zhǐ yòu wǒ yī gè rén bèi gāo gāo de hǎi làng juàn dào liǎo 'àn shàng， bǎo zhù liǎo yī tiáo mìng。 dāng shí wǒ suǒ yòu de zhǐ shì yī bǎ dāo、 yī zhǐ yān dǒu hé yī gè hé zǐ lǐ zhuāng de yī diǎn 'ér yān cǎo。 dài dào wǒ de tǐ lì huī fù， kě yǐ zǒu lù liǎo shí， wǒ jiù yán zhe hǎi 'àn zǒu qù。 shǐ wǒ dà wéi gāo xīng de shì， wǒ fā xiàn liǎo dàn shuǐ。 hē liǎo shuǐ hòu， yòu ná yī xiǎo cuō yān cǎo fàng zài zuǐ lǐ jiě 'è。 wǒ jiù zài yī kē shù shàng qī shēn， shū shū fú fú dì shuì liǎo yī jué zhèn zuò liǎo jīng shén， hǎi shàng fēng píng làng jìng。 dàn zuì jiào wǒ gāo xīng de shì wǒ kàn jiàn liǎo nà sōu chuán， dài dào cháo shuǐ tuì xià， kàn dào tā jìng lí hǎi 'àn hěn jìn， wǒ fā xiàn kě yǐ hěn fāng biàn dì yóu dào chuán shàng qù。 chuán shàng zhǐ shèng xià yī zhǐ gǒu hé liǎng zhǐ māo， zài méi yòu bié de shēng wù。 bù guò chuán shàng yòu dà liàng de shēng huó bì xū pǐn， zhè yàng， wǒ jiù gān liǎo qǐ lái。 wèile bǎ nà xiē dōng xī yùn dào zhè gè dǎo de yī gè shuǐ wān lǐ， wǒ zhuān mén zhì zào liǎo yī zhǐ mù fá， hái bǎ dǎo shàng yòu dàn shuǐ 'ér qiě bǐ jiào píng tǎn de yī kuài gāo dì zuò liǎo wǒ de zhù suǒ。 miàn bāo、 dà mǐ、 dà mài hé xiǎo mài、 gān lào hé yáng ròu gān、 táng、 miàn fěn、 mù bǎn、 yuán mù、 shéng zǐ héng héng suǒ yòu zhè xiē， zài jiā shàng jǐ zhī huá táng qiāng、 liǎng zhī shǒu qiāng、 jǐ zhī niǎo qiāng、 yī bǎ chuí zǐ， hái yòu héng héng nà shì zuì méi yòu yòng de héng héng sān shí liù bàng yīng bì。 suǒ yòu zhè xiē dōng xī wǒdōu yī tiān yòu yī tiān héng héng zài liǎng cì tuì cháo zhī jiān yī yī cóng chuán shàng yùn dào liǎo 'àn shàng。 dào liǎo dì sān shí tiān yè lǐ， wǒ de bān yùn gōng zuò zuò wán liǎo， wǒ tǎng xià lái shí， suī rán xiàng píng cháng yī yàng hài pà， dàn wǒ xīn lǐ yě mǎn huái gǎn 'ēn zhī qíng， yīn wéi wǒ zhī dào， wǒ yǐ wéi yǐ hòu duì fù zhè gè huāng dǎo zuò hǎo liǎo zhǔn bèi 'ér xīn lǐ gǎn dào tà shí liǎo。
《 lǔ bīn xùn piào liú jì》《 lǔ bīn xùn piào liú jì》
dǎo shàng yòu bù shǎo yě guǒ shù， dàn zhè shì wǒ guò liǎo hǎo jiǔ cái fā xiàn de , wǒ bǎ tā shài chéng pú táo gān。 dǎo shàng hái yòu dào chù luàn páo de shān yáng， dàn yào bù shì wǒ cóng chuán shàng qǔ lái liǎo qiāng zhī dàn yào， tā men duì wǒ yòu yòu hé hǎo chù ní？ yīn cǐ， wǒ yòu lǐ yóu gǎn xiè rén cí de shàng dì， ràng chuán gē zài hǎi 'àn biān， zhí zhì shǐ wǒ bān lái liǎo duì wǒ yòu yòng de yī qiē dōng xī。
yào xiǎng què bǎo wǒ néng zài zhè gè dǎo shàng shēng cún xià lái， hái yòu xǔ duō shì qíng yào zuò。 wǒ jìn kě néng dì xiāng jì bàn liǎo jǐ jiàn wǒ fēi bàn bù kě de shì。 dàn shì wǒ de nǔ lì bìng fēi zǒng shì jiāo shàng hǎo yùn dào。 wǒ zài dì yī cì bō xià dà mài hé dào zǐ de zhǒng zǐ shí， zhè xiē bǎo guì de cún huò jiù làng fèi liǎo yī bàn， yuán yīn shì bōzhòng dé bù shì shí hòu。 wǒ xīn xīn kǔ kǔ huā liǎo jǐ gè yuè gōng fū， wā liǎo jǐ gè dì jiào yǐ bèi zhù cún dàn shuǐ。 huā liǎo sì shí 'èr tiān shí jiān， cái bǎ yī kē dà shù kǎn pǐchéng wǒ de dì yī kuài cháng mù bǎn。 wǒ qǐ jìn dì gān liǎo hǎo jǐ gè xīng qī， xiǎng zhì zào yī gè dǎo xiǎo mài de shí jiù， zuì hòu què zhǐ hǎo wā kōng liǎo yī dà kuài mù tóu。 wǒ zú zú huā liǎo wǔ gè yuè gōng fū， kǎn dǎo yī kē dà tiě shù， yòu pī yòu xuē， ràng tā chéng liǎo yī zhǐ hěn xiàng yàng de dú mù zhōu， yǐ bèi yòng lái táo lí zhè gè xiǎo dǎo， kě jiēguǒ què yīn wéi zěn me yě méi fǎ zǐ shǐ tā xià dào hǎi lǐ qù 'ér bù dé bù bǎ tā diū qì liǎo。 bù guò， měi yī zhuāng shī bài de shì， dū jiāogěi liǎo wǒ yǐ qián bù zhī dào de yī xiē zhī shí。
zhì yú zì rán huán jìng， dǎo shàng yòu kuáng fēng bào yǔ， hái yòu dì zhèn。 wǒ nà shí yě duì yī qiēdōu shì yìng liǎo。 wǒ zhòngzhí hé shōu huò liǎo wǒ de dà mài hé xiǎo mài； wǒ cǎi lái yě pú táo， bǎ tā men shài chéng liǎo hěn yòu yíng yǎng de pú táo gān； wǒ sì yǎng wēn xùn de shān yáng， rán hòu shā liǎo chī， yòu xūn yòu yān de。 yóu yú shí wù zhè yàng duō zhǒng duō yàng， gōng yìng hái suàn bùchà。 rú cǐ guò liǎo shí 'èr gè nián tóu， qí jiān， dǎo shàng chú liǎo wǒ běn rén zhī wài， wǒ cóng lái méi jiàn dào guò yī gè rén jì。 zhè yàng yī zhí dào liǎo nà zhòng dà de yī tiān， wǒ zài shā tān shàng 'ǒu rán fā xiàn liǎo yī gè rén de guāng jiǎo yìn。
wǒ dāng shí hǎo xiàng 'āi liǎo yī gè qíng tiān pī léi。 wǒ cè 'ěr qīng tīng， huí tóu sì gù， kě shì shénme yě méi tīng jiàn， shénme yě méi kàn jiàn。 wǒ páo dào hǎi 'àn shàng， hái xià hǎi qù chá kàn， kě shì zǒng gòng jiù zhǐ yòu nà me yī gè jiǎo yìn！ wǒ jīng xià dào liǎo jí diǎn， xiàng yī gè bèi rén gēn zōng zhuī bǔ de rén sì dì táo huí dào wǒ de zhù chù。 yī lián sān tiān sān yè， wǒdōu bù gǎn wài chū。
zhè shì rén pà rén de zuì hǎo shuō míng！ jīng guò shí 'èr nián de tòng kǔ hé kǔ gān， shí 'èr nián gēn zì rán huán jìng xiāng kàng zhēng， jìng rán huì yīn yī gè rén de yī zhǐ jiǎo yìn 'ér kǒng bù bù 'ān！ dàn shì qíng jiù shì zhè yàng。 jīng guò guān chá， wǒ liǎo jiě dào zhè shì nà kuài dà lù shàng de nà xiē chī rén shēng fān de yī zhǒng xí guàn。 tā men bǎ dǎ zhàng shí zhuā lái de fú lǔ dài dào zhè gè dǎo shàng wǒ hěn shǎo qù de nà gè dì fāng， shā sǐ hòu dà chī yī dùn。 yòu yī tiān zǎo chén， wǒ cóng wàng yuǎn jìng lǐ kàn jiàn sān shí gè yě mán rén zhèng zài wéi zhe gōu huǒ tiào wǔ。 tā men yǐ zhǔ shí liǎo yī gè fú lǔ， hái yòu liǎng gè zhèng zhǔn bèi fàng dào huǒ shàng qù kǎo， zhè shí wǒ tí zhe liǎng zhī shàng liǎo zǐ dàn de huá táng qiāng hé nà bǐng dà dāo wǎng xià cháo tā men páo liǎo qù， jí shí jiù xià liǎo tā men lái bù jí chī diào de yī gè fú lǔ。 wǒ bǎ wǒ jiù xià de zhè gè rén qǐ míng wéi " xīng qī wǔ "， yǐ jì niàn tā shì zhè yī tiān huò jiù de， tā jiǎng huà de shēng yīn chéng liǎo wǒ zài zhè gè dǎo shàng 'èr shí wǔ nián lái dì yī cì tīng dào de rén shēng。 tā nián qīng， cōng míng， shì yī gè jiào gāo jí de bù zú de yě mán rén， hòu lái zài wǒ liú zài dǎo shàng de nà duàn shí jiān， tā shǐ zhōng shì wǒ de gè kě kào de huǒ bàn。 zài wǒ jiào liǎo tā jǐ jù yīng yǔ hòu， xīng qī wǔ gēn wǒ jiǎng liǎo nà dà lù shàng de shì。 wǒ jué dìng lí kāi wǒ de dǎo liǎo。 wǒ men zhì zào liǎo yī zhǐ chuán， zhè cì bù shì zài lí hǎi 'àn hěn yuǎn de dì fāng zào。 zhèng dāng wǒ men chàbù duō yǐ zhǔn bèi jià chuán qǐ háng shí， yòu yòu 'èr shí yī gè yě mán rén chéng zhe sān zhǐ dú mù chuán， dài liǎo sān gè fú lǔ dào zhè gè dǎo shàng lái kāi yàn huì liǎo。 qí zhōng yī gè fú lǔ shì gè bái rén， zhè kě bǎ wǒ qì huài liǎo。 wǒ bǎ liǎng zhī niǎo qiāng、 sì zhī huá táng qiāng、 liǎng zhī shǒu qiāng dū zhuāng shàng shuāng bèi dàn yào， gěi liǎo xīng qī wǔ yī bǎ xiǎo fǔ tóu， hái gěi tā hē liǎo hǎo duō gān zhè jiǔ， wǒ zì jǐ dài shàng liǎo dà dāo， wǒ men chōng xià shān qù， bǎ tā men quán shā sǐ liǎo， zhǐ táo zǒu liǎo sì gè yě mán rén。
《 lǔ bīn xùn piào liú jì》 lǔ bīn xùn
fú lǔ zhōng yòu yī gè shì xīng qī wǔ de fù qīn。 nà gè bái rén shì xī bān yá rén， shì wǒ qián jǐ nián kàn jiàn de nà sōu zài wǒ de dǎo shàng chù jiāo de chuán shàng de yī gè xìng cún zhě， dāng shí wǒ hái cóng nà sōu chuán shàng qǔ lái liǎo yī qiān 'èr bǎi duō méi jīn bì， dàn duì zhè xiē qián wǒ háo bù kàn zhòng， yīn wéi tā men bìng bù bǐ shā tān shàng de xǔ duō shā zǐ gèng yòu jià zhí。
wǒ gěi liǎo nà gè xī bān yá rén hé xīng qī wǔ de fù qīn qiāng zhī hé shí wù， jiào tā men chéng zhe wǒ xīn zào de chuán qù bǎ nà sōu xī bān yá chuán shàng yùnàn de shuǐ shǒu men dài dào wǒ de dǎo shàng lái。 zhèng zài děng dài tā men huí lái shí， yòu yī sōu yīng guó chuán yīn shuǐ shǒu nào shì 'ér zài wǒ de dǎo fù jìn pāo liǎo máo。 wǒ bāng nà wèi chuán cháng duó huí liǎo tā de chuán， gēn tā yī qǐ huí dào liǎo yīng guó。 wǒ men zǒu shí dài zǒu liǎo liǎng gè yě xiǎng huí yīng guó qù de lǎo shí de shuǐ shǒu， ér ràng nào shì nào dé zuì xiōng de yī xiē shuǐ shǒu liú zài liǎo dǎo shàng。 hòu lái， nà xiē xī bān yá rén huí lái liǎo， dōuzài dǎo shàng jū liú liǎo xià lái。 kāi shǐ shí tā men shuāng fāng zhēng chǎo bù hé， dàn dìng jū hòu， zhōng yú jiàn lì qǐ liǎo yī gè xīng wàng de zhí mín dì， guò liǎo jǐ nián， wǒ yòu xìng yòu dào nà gè dǎo shàng qù guò yī cì。
wǒ lí kāi nà gè dǎo shí， yǐ zài dǎo shàng dāi liǎo 'èr shí bā nián liǎng gè yuè 'èr shí jiǔ tiān。 wǒ zǒng yǐ wéi wǒ yī dào yīng guó jiù huì gāo xīng bù jìn， méi xiǎng dào wǒ zài nà lǐ què chéng liǎo yī gè yì xiāng rén。 wǒ de fù mǔ dōuyǐ qù shì， zhēn tài lìng rén yí hàn liǎo， yào bù wǒ xiàn zài kě yǐ xiào jìng dì fèng yǎng tā men， yīn wéi wǒ chú liǎo cóng nà sōu xī bān yá chuán shàng qǔ lái de yī qiān 'èr bǎi gè jīn bì zhī wài， hái yòu liǎng wàn yīng bàng děng dài zhe wǒ dào yī gè chéng shí de péng yǒu nà 'ér qù lǐng qǔ， zhè wèi péng yǒu shì yī wèi pú táo yá chuán cháng， zài wǒ qù gān nà xiàng dǎo méi de chāishi zhī qián， wǒ wěi tuō tā jīng yíng wǒ zài bā xī de zhuāng yuán。 zhèng shì wèile qù gān nà chāishi， shǐ wǒ zài dǎo shàng zhù liǎo 'èr shí bā nián。 wǒ jiàn tā rú cǐ chéng shí， shí fēn gāo xīng， wǒ jué dìng měi nián fù gěi tā yī bǎi pú táo yá jīn bì， bìng zài tā sǐ hòu měi nián fù gěi tā 'ér zǐ wǔ shí pú táo yá jīn bì， zuò wéi tā men zhōng shēng de jīn tiē。
wǒ jié liǎo hūn， shēng liǎo sān gè hái zǐ， wǒ chú liǎo yīn wéi yào dào nà gè shàng miàn jiǎng de wǒ zhù guò de dǎo shàng qù kàn kàn， yòu zuò liǎo yī cì háng xíng zhī wài， zài méi zuò màn yóu liǎo。 wǒ zhù zài zhè 'ér， wèiwǒ bù pèi dé dào de xiǎng shòu 'ér xīn huái gǎn jī， jué xīn xiàn zài jiù zhǔn bèi qù zuò yī qiē lǚ xíng zhōng zuì cháng de lǚ xíng。 rú guǒ shuō wǒ xué dào liǎo shénme de huà， nà jiù shì yào rèn shí tuì xiū shēng huó de jià zhí hé qí dǎo zài píng jìng zhōng guò wán wǒ men de yú rì。
《 lǔ bīn xùn piào liú jì》 - xiě zuò bèi jǐng
yà lì shān dà sài 'ěr kē kè de jīng lì gěi liǎo dí fú de líng gǎn zhè bù xiǎo shuō shì dí fú shòu dāng shí yī gè zhēn shí gù shì de qǐ fā 'ér chuàng zuò de。 1704 nián sū gé lán shuǐ shǒu sài 'ěr kē kè zài hǎi shàng yǔ chuán cháng fā shēng zhēng chǎo， bèi chuán cháng yí qì zài huāng dǎo shàng， sì nián hòu bèi jiù huí yīng guó。 sài 'ěr kē kè zài huāng dǎo shàng bìng méi yòu zuò chū shénme zhí dé sòng yáng de yīng xióng shì jì。 dàn dí fú sù zào de lǔ bīn sūn què wán quán shì gè xīn rén， chéng liǎo dāng shí zhōng xiǎo zī chǎn jiē jí xīn mù zhōng de yīng xióng rén wù， shì xī fāng wén xué zhōng dì yī gè lǐ xiǎng huà de xīn xīng zī chǎn zhě xíng xiàng。 tā biǎo xiàn liǎo qiáng liè de zī chǎn jiē jí jìn qǔ jīng shén hé qǐ méng yì shí。
《 lǔ bīn xùn piào liú jì》 - rén wù xíng xiàng
lǔ bīn sūn xìng gé： lǔ bīn sūn shì yī gè chōng mǎn láo dòng rè qíng de rén， wěi dà de rén， jiān yì de rén。 gū shēn yī rén zài zhè huāng wú rén yān de gū dǎo shàng shēng huó liǎo 28 nián。 miàn duì rén shēng kùn jìng， lǔ bīn sūn de suǒ zuò suǒ wéi， xiǎn shì liǎo yī gè yìng hàn zǐ de jiān yì xìng gé yǔ yīng xióng běn sè， tǐ xiàn liǎo zī chǎn jiē jí shàng shēng shí qī de chuàng zào jīng shén hé kāi tuò jīng shén， tā gǎn yú tóng 'è liè de huán jìng zuò dǒu zhēng。 lǔ bīn sūn yòu shì gè zī chǎn zhě hé zhí mín zhě， yīn cǐ jù yòu bō xuē lüè duó de běn xìng。
xīng qī wǔ xìng gé： xīng qī wǔ shì yī gè pǔ sù de rén， zhōng chéng de péng yǒu， zhì huì de yǒng zhě， xiào shùn de 'ér zǐ。 tā zhī 'ēn tú bào， zhōng chéng yòu zé rèn xīn， shì yìng néng lì qiáng， tā hé lǔ bīn xùn hé zuò zhe shī zhǎn bù tóng de jì néng zài dǎo shàng dù guò liǎo duō nián。
《 lǔ bīn xùn piào liú jì》 - shè huì yǐng xiǎng
dí fú de《 lǔ bīn sūn piào liú jì》， shì yī bù liú chuán hěn guǎng de dài biǎo zuò。 1704 nián sū gé lán shuǐ shǒu sài 'ěr kē kè zài hǎi shàng pàn biàn， bèi pāo dào zhì lì hǎi wài huāng dǎo， dù guò 5 nián， zuì hòu dé jiù， dí fú shòu dào zhè yī shì jiàn de qǐ fā， xiě chéng cǐ shū。 lǔ bīn sūn bù tīng fù qīn quàn jiè， chū hǎi jīng shāng fàn mài hēi nú， zài hǎi shàng yùnàn， liú luò huāng dǎo 28 nián， zài dǎo shàng yǔ zì rán dǒu zhēng， shōu liú liǎo yě rén xīng qī wǔ， jiù liǎo yī sōu pàn biàn chuán zhǐ de chuán cháng， huí dào yīng guó， yòu qù bā xī jīng yíng zhòngzhí yuán zhì fù。 cǐ wài hái yòu xù jí。 dì 'èr bù xiě tā jiù dì zhòng yóu， yǐ dǎo de zhù rén zì jū， kāi huà dǎo shàng jū mín， yòu shì chá bā xī zhòngzhí yuán， jiē zhe dào shì jiè gè dì mào xiǎn， bāo kuò zhōng guó hé xī bó lì yà。 dì sān bù zé shì yī bù dào dé shuō jiào de zuò pǐn。《 lǔ bīn xùn piào liú jì》 shì yīng guó xiǎo shuō jiā dān ní 'ěr dí fú 1719 nián fā biǎo de dì yī bù xiǎo shuō， tóng nián yòu chū bǎn liǎo xù piān。
《 lǔ bīn xùn piào liú jì》 - zuò pǐn píng jià
hé zuò zhě dí fú yī yàng， xiǎo shuō de zhù rén gōng lǔ bīn xùn kè luó suǒ shì yī gè yǒng bù pí juàn、 yǒng bù 'ān shēng de xíng dòng zhě， shì dāng shí bù duàn kuò zhāng、 bù duàn jué qǔ de zī běn zhù yì yuán shǐ jī lěi shí qī de shè huì de diǎn xíng chǎn wù。 tā bù xiè shǒu chéng， qīng xīn kāi tuò， sān fān wǔ cì dì lí kāi xiǎo kāng zhī jiā， chū hǎi chuǎng tiān xià； tā zāo yù hǎi nán liú luò dào huāng dǎo shàng yǐ hòu， bù zuò tàn mìng yùn bù jì， ér shì chōng fēn lì yòng zì jǐ de tóu nǎo hé shuāng shǒu， xiū jiàn zhù suǒ、 zhòngzhí liáng shí、 xùn yǎng jiā chù、 zhì zào qì jù、 féng rèn yī fú， bǎ huāng dǎo gǎi zào chéng liǎo jǐng rán yòu xù、 xīn xīn xiàng róng de jiā yuán。 tā liú làng duō nián， lì jīng qiān xīn wàn kǔ， zhōng yú huò qǔ liǎo yī bǐ kě guān de cái fù， wán chéng liǎo tā nà gè shí dài de diǎn xíng yīng xióng rén wù de chuàng yè lì chéng。
běn shū chéng xíng zài yī gè wàn xiàng gēngxīn de zhuǎn xíng shè huì， bēn tū wǎng fù yú wù zhì zhuī qiú hé jīng shén zhuī qiú de shuāngchóng mí gōng， lǔ bīn xùn kè luó suǒ zhè gè dài yòu xiān míng shí dài de rén wù jí qí xù shù yǐ qí bó bó de shēng qì、 tiān zhēn de xìn xīn、 jiān rèn fèn dǒu de jīng shén hé duì zì shēn de yán sù xǐngchá huàn qǐ liǎo yī dài yòu yī dài dú zhě de gòng míng hé shēn sī。
dān ní 'ěr dí fú de xiǎo shuō zì 19 shì jì mò bèi chū cì yì jiè zhī hòu jiù duì dāng shí zhōng guó shè huì chǎn shēng liǎo hěn dà yǐng xiǎng . zài zhōng guó de duǎn zàn huī huáng zhù yào shòu yì rù yǔ shè huì de zōng jiào、 zhèng zhì hé yì shí xíng tài de yǐng xiǎng。
The story was likely influenced by the real-life Alexander Selkirk, a Scottish castaway who lived four years on the Pacific island called "Más a Tierra" (in 1966 its name was changed to Robinson Crusoe Island), Chile. However, the details of Crusoe's island were probably based on the Caribbean island of Tobago, since that island lies a short distance north of the Venezuelan coast near the mouth of the Orinoco river, and in sight of the island of Trinidad. It is also likely that Defoe was inspired by the Latin or English translations of Ibn Tufail's Hayy ibn Yaqdhan, an earlier novel also set on a desert island. Another source for Defoe's novel may have been Robert Knox's account of his abduction by the King of Ceylon in 1659 in "An Historical Account of the Island Ceylon," Glasgow: James MacLehose and Sons (Publishers to the University), 1911.
Plot summary
Crusoe (the family name transcribed from the German name "Kreutznaer" or "Kreutznär") sets sail from the Queen's Dock in Hull on a sea voyage in September 1651, against the wishes of his parents, who want him to stay home and assume a career in law. After a tumultuous journey that sees his ship wrecked by a vicious storm, his lust for the sea remains so strong that he sets out to sea again. This journey too ends in disaster as the ship is taken over by Salé pirates, and Crusoe becomes the slave of a Moor. After two years of slavery, he manages to escape with a boat and a boy named Xury; later, Crusoe is befriended by the Captain of a Portuguese ship off the western coast of Africa. The ship is en route to Brazil. There, with the help of the captain, Crusoe becomes owner of a plantation.
Years later, he joins an expedition to bring slaves from Africa, but he is shipwrecked in a storm about forty miles out to sea on an island (which he calls the Island of Despair) near the mouth of the Orinoco river on September 30, 1659. His companions all die. Having overcome his despair, he fetches arms, tools, and other supplies from the ship before it breaks apart and sinks. He proceeds to build a fenced-in habitation near a cave which he excavates himself. He keeps a calendar by making marks in a wooden cross built by himself, hunts, grows corn and rice, dries grapes to make raisins for the winter months, learns to make pottery, raises goats, etc., using tools created from stone and wood which he harvests on the island, and adopts a small parrot. He reads the Bible and suddenly becomes religious, thanking God for his fate in which nothing is missing but society.
Years later, he discovers native cannibals who occasionally visit the island to kill and eat prisoners. At first he plans to kill them for committing an abomination, but later realizes that he has no right to do so as the cannibals do not knowingly commit a crime. He dreams of obtaining one or two servants by freeing some prisoners; and indeed, when a prisoner manages to escape, Crusoe helps him, naming his new companion "Friday" after the day of the week he appeared. Crusoe then teaches him English and converts him to Christianity.
After another party of natives arrives to partake in a cannibal feast, Crusoe and Friday manage to kill most of the natives and save two of the prisoners. One is Friday's father and the other is a Spaniard, who informs Crusoe that there are other Spaniards shipwrecked on the mainland. A plan is devised wherein the Spaniard would return with Friday's father to the mainland and bring back the others, build a ship, and sail to a Spanish port.
Before the Spaniards return, an English ship appears; mutineers have taken control of the ship and intend to maroon their former captain on the island. Crusoe and the ship's captain strike a deal, in which he helps the captain and the loyalist sailors retake the ship from the mutineers, whereupon they intend to leave the worst of the mutineers on the island. Before they leave for England, Crusoe shows the former mutineers how he lived on the island, and states that there will be more men coming. Crusoe leaves the island December 19, 1686, and arrives back in England June 11, 1687. He learns that his family believed him dead and there was nothing in his father's will for him. Crusoe then departs for Lisbon to reclaim the profits of his estate in Brazil, which has granted him a large amount of wealth. In conclusion, he takes his wealth over land to England to avoid traveling at sea. Friday comes with him and along the way they endure one last adventure together as they fight off hundreds of famished wolves while crossing the Pyrenees.
chuán gāng shǐ chū hǎi kǒu， biàn pèng dào liǎo kě pà de fēng làng， shǐ wǒ gǎn dào quán shēn shuō bù chū de nán guò， xīn lǐ shí fēn kǒng bù。 wǒ zài tòng kǔ de xīn qíng zhōng fā liǎo shì， jiǎ rú shàng dì zài zhè cì háng xíng zhōng liú xià wǒ de mìng， wǒ zài dēng shàng lù dì hòu， jiù yī zhí huí dào wǒ cí 'ài de fù mǔ shēn biān， cóng cǐ yī dìng tīng cóng tā men de zhōng gào bàn shì。
kě shì dì 'èr tiān fēng tíng liǎo， làng yě xiē liǎo。 tài yáng xī chén， jì zhī 'ér lái de shì yī gè měi lì kě 'ài de huáng hūn， zhè shí yòu hē liǎo wǒ de tóng bàn niàng de yī wǎn tián jiǔ， wǒ jiù bǎ zhè cì háng xíng hòu biàn huí jiā de jué xīn diū dào jiǔ xiāo yún wài qù liǎo。 wǒ de zhè zhǒng xí xìng gěi wǒ de yī shēng zhāo lái liǎo jù dà de bù xìng héng héng rèn xìng de xíng dòng cháng gěi wǒ dài lái zāinàn， kě wǒ zǒng bù kěn zài zāinàn lái lín de shí kè chéng jī huǐ gǎi。 dài dào wēi xiǎn yī guò qù， jiù wàng diào liǎo suǒ yòu de shì yán， yòu bù gù yī qiē dì tóu rù liǎo wǒ de háo wú míng táng de shēng huó。
zài dì yī cì kuáng fēng bào yǔ shìde háng xíng hòu， wǒ yòu yòu guò jǐ cì bù tóng de mào xiǎn。 zài qù fēi zhōu de jǐ nèi yà zuò shēng yì shí， wǒ bèi yī sōu tǔ 'ěr qí de hǎi dào chuán fú lǔ， bèi mài wéi nú lì， jīng guò xǔ duō wēi xiǎn， wǒ táo dào liǎo bā xī， zài nà lǐ dú zì jīng yíng yī gè gān zhè zhòngzhí yuán， shēng huó guò dé hěn shùn suì。 kě zhè shí wǒ què yòu chéng liǎo yòu huò de xī shēng pǐn。 bā xī yīn wéi rén gōng bù zú， yòu jǐ gè zhòngzhí yuán zhù zhī dào wǒ céng wéi zuò shēng yì 'ér dào guò fēi zhōu de yī xiē nú lì shì chǎng kǒu 'àn， tā men jié lì hōng yòu wǒ zuò yī cì háng xíng， dào nà yī dài qù wèitā men de zhòngzhí yuán mǎi xiē hēi nú huí lái。
tīng cóng huài zhù yì， rén jiù huì dǎo méi。 wǒ men de chuán zài nán měi zhōu běi 'àn yī gè wú míng dǎo shàng chù liǎo jiāo， suǒ yòu de shuǐ shǒu jí chéng kè quándōu yān sǐ liǎo， shàng dì bǎo yòu， zhǐ yòu wǒ yī gè rén bèi gāo gāo de hǎi làng juàn dào liǎo 'àn shàng， bǎo zhù liǎo yī tiáo mìng。 dāng shí wǒ suǒ yòu de zhǐ shì yī bǎ dāo、 yī zhǐ yān dǒu hé yī gè hé zǐ lǐ zhuāng de yī diǎn 'ér yān cǎo。 dài dào wǒ de tǐ lì huī fù， kě yǐ zǒu lù liǎo shí， wǒ jiù yán zhe hǎi 'àn zǒu qù。 shǐ wǒ dà wéi gāo xīng de shì， wǒ fā xiàn liǎo dàn shuǐ。 hē liǎo shuǐ hòu， yòu ná yī xiǎo cuō yān cǎo fàng zài zuǐ lǐ jiě 'è。 wǒ jiù zài yī kē shù shàng qī shēn， shū shū fú fú dì shuì liǎo yī jué zhèn zuò liǎo jīng shén， hǎi shàng fēng píng làng jìng。 dàn zuì jiào wǒ gāo xīng de shì wǒ kàn jiàn liǎo nà sōu chuán， dài dào cháo shuǐ tuì xià， kàn dào tā jìng lí hǎi 'àn hěn jìn， wǒ fā xiàn kě yǐ hěn fāng biàn dì yóu dào chuán shàng qù。 chuán shàng zhǐ shèng xià yī zhǐ gǒu hé liǎng zhǐ māo， zài méi yòu bié de shēng wù。 bù guò chuán shàng yòu dà liàng de shēng huó bì xū pǐn， zhè yàng， wǒ jiù gān liǎo qǐ lái。 wèile bǎ nà xiē dōng xī yùn dào zhè gè dǎo de yī gè shuǐ wān lǐ， wǒ zhuān mén zhì zào liǎo yī zhǐ mù fá， hái bǎ dǎo shàng yòu dàn shuǐ 'ér qiě bǐ jiào píng tǎn de yī kuài gāo dì zuò liǎo wǒ de zhù suǒ。 miàn bāo、 dà mǐ、 dà mài hé xiǎo mài、 gān lào hé yáng ròu gān、 táng、 miàn fěn、 mù bǎn、 yuán mù、 shéng zǐ héng héng suǒ yòu zhè xiē， zài jiā shàng jǐ zhī huá táng qiāng、 liǎng zhī shǒu qiāng、 jǐ zhī niǎo qiāng、 yī bǎ chuí zǐ， hái yòu héng héng nà shì zuì méi yòu yòng de héng héng sān shí liù bàng yīng bì。 suǒ yòu zhè xiē dōng xī wǒdōu yī tiān yòu yī tiān héng héng zài liǎng cì tuì cháo zhī jiān yī yī cóng chuán shàng yùn dào liǎo 'àn shàng。 dào liǎo dì sān shí tiān yè lǐ， wǒ de bān yùn gōng zuò zuò wán liǎo， wǒ tǎng xià lái shí， suī rán xiàng píng cháng yī yàng hài pà， dàn wǒ xīn lǐ yě mǎn huái gǎn 'ēn zhī qíng， yīn wéi wǒ zhī dào， wǒ yǐ wéi yǐ hòu duì fù zhè gè huāng dǎo zuò hǎo liǎo zhǔn bèi 'ér xīn lǐ gǎn dào tà shí liǎo。
《 lǔ bīn xùn piào liú jì》《 lǔ bīn xùn piào liú jì》
dǎo shàng yòu bù shǎo yě guǒ shù， dàn zhè shì wǒ guò liǎo hǎo jiǔ cái fā xiàn de , wǒ bǎ tā shài chéng pú táo gān。 dǎo shàng hái yòu dào chù luàn páo de shān yáng， dàn yào bù shì wǒ cóng chuán shàng qǔ lái liǎo qiāng zhī dàn yào， tā men duì wǒ yòu yòu hé hǎo chù ní？ yīn cǐ， wǒ yòu lǐ yóu gǎn xiè rén cí de shàng dì， ràng chuán gē zài hǎi 'àn biān， zhí zhì shǐ wǒ bān lái liǎo duì wǒ yòu yòng de yī qiē dōng xī。
yào xiǎng què bǎo wǒ néng zài zhè gè dǎo shàng shēng cún xià lái， hái yòu xǔ duō shì qíng yào zuò。 wǒ jìn kě néng dì xiāng jì bàn liǎo jǐ jiàn wǒ fēi bàn bù kě de shì。 dàn shì wǒ de nǔ lì bìng fēi zǒng shì jiāo shàng hǎo yùn dào。 wǒ zài dì yī cì bō xià dà mài hé dào zǐ de zhǒng zǐ shí， zhè xiē bǎo guì de cún huò jiù làng fèi liǎo yī bàn， yuán yīn shì bōzhòng dé bù shì shí hòu。 wǒ xīn xīn kǔ kǔ huā liǎo jǐ gè yuè gōng fū， wā liǎo jǐ gè dì jiào yǐ bèi zhù cún dàn shuǐ。 huā liǎo sì shí 'èr tiān shí jiān， cái bǎ yī kē dà shù kǎn pǐchéng wǒ de dì yī kuài cháng mù bǎn。 wǒ qǐ jìn dì gān liǎo hǎo jǐ gè xīng qī， xiǎng zhì zào yī gè dǎo xiǎo mài de shí jiù， zuì hòu què zhǐ hǎo wā kōng liǎo yī dà kuài mù tóu。 wǒ zú zú huā liǎo wǔ gè yuè gōng fū， kǎn dǎo yī kē dà tiě shù， yòu pī yòu xuē， ràng tā chéng liǎo yī zhǐ hěn xiàng yàng de dú mù zhōu， yǐ bèi yòng lái táo lí zhè gè xiǎo dǎo， kě jiēguǒ què yīn wéi zěn me yě méi fǎ zǐ shǐ tā xià dào hǎi lǐ qù 'ér bù dé bù bǎ tā diū qì liǎo。 bù guò， měi yī zhuāng shī bài de shì， dū jiāogěi liǎo wǒ yǐ qián bù zhī dào de yī xiē zhī shí。
zhì yú zì rán huán jìng， dǎo shàng yòu kuáng fēng bào yǔ， hái yòu dì zhèn。 wǒ nà shí yě duì yī qiēdōu shì yìng liǎo。 wǒ zhòngzhí hé shōu huò liǎo wǒ de dà mài hé xiǎo mài； wǒ cǎi lái yě pú táo， bǎ tā men shài chéng liǎo hěn yòu yíng yǎng de pú táo gān； wǒ sì yǎng wēn xùn de shān yáng， rán hòu shā liǎo chī， yòu xūn yòu yān de。 yóu yú shí wù zhè yàng duō zhǒng duō yàng， gōng yìng hái suàn bùchà。 rú cǐ guò liǎo shí 'èr gè nián tóu， qí jiān， dǎo shàng chú liǎo wǒ běn rén zhī wài， wǒ cóng lái méi jiàn dào guò yī gè rén jì。 zhè yàng yī zhí dào liǎo nà zhòng dà de yī tiān， wǒ zài shā tān shàng 'ǒu rán fā xiàn liǎo yī gè rén de guāng jiǎo yìn。
wǒ dāng shí hǎo xiàng 'āi liǎo yī gè qíng tiān pī léi。 wǒ cè 'ěr qīng tīng， huí tóu sì gù， kě shì shénme yě méi tīng jiàn， shénme yě méi kàn jiàn。 wǒ páo dào hǎi 'àn shàng， hái xià hǎi qù chá kàn， kě shì zǒng gòng jiù zhǐ yòu nà me yī gè jiǎo yìn！ wǒ jīng xià dào liǎo jí diǎn， xiàng yī gè bèi rén gēn zōng zhuī bǔ de rén sì dì táo huí dào wǒ de zhù chù。 yī lián sān tiān sān yè， wǒdōu bù gǎn wài chū。
zhè shì rén pà rén de zuì hǎo shuō míng！ jīng guò shí 'èr nián de tòng kǔ hé kǔ gān， shí 'èr nián gēn zì rán huán jìng xiāng kàng zhēng， jìng rán huì yīn yī gè rén de yī zhǐ jiǎo yìn 'ér kǒng bù bù 'ān！ dàn shì qíng jiù shì zhè yàng。 jīng guò guān chá， wǒ liǎo jiě dào zhè shì nà kuài dà lù shàng de nà xiē chī rén shēng fān de yī zhǒng xí guàn。 tā men bǎ dǎ zhàng shí zhuā lái de fú lǔ dài dào zhè gè dǎo shàng wǒ hěn shǎo qù de nà gè dì fāng， shā sǐ hòu dà chī yī dùn。 yòu yī tiān zǎo chén， wǒ cóng wàng yuǎn jìng lǐ kàn jiàn sān shí gè yě mán rén zhèng zài wéi zhe gōu huǒ tiào wǔ。 tā men yǐ zhǔ shí liǎo yī gè fú lǔ， hái yòu liǎng gè zhèng zhǔn bèi fàng dào huǒ shàng qù kǎo， zhè shí wǒ tí zhe liǎng zhī shàng liǎo zǐ dàn de huá táng qiāng hé nà bǐng dà dāo wǎng xià cháo tā men páo liǎo qù， jí shí jiù xià liǎo tā men lái bù jí chī diào de yī gè fú lǔ。 wǒ bǎ wǒ jiù xià de zhè gè rén qǐ míng wéi " xīng qī wǔ "， yǐ jì niàn tā shì zhè yī tiān huò jiù de， tā jiǎng huà de shēng yīn chéng liǎo wǒ zài zhè gè dǎo shàng 'èr shí wǔ nián lái dì yī cì tīng dào de rén shēng。 tā nián qīng， cōng míng， shì yī gè jiào gāo jí de bù zú de yě mán rén， hòu lái zài wǒ liú zài dǎo shàng de nà duàn shí jiān， tā shǐ zhōng shì wǒ de gè kě kào de huǒ bàn。 zài wǒ jiào liǎo tā jǐ jù yīng yǔ hòu， xīng qī wǔ gēn wǒ jiǎng liǎo nà dà lù shàng de shì。 wǒ jué dìng lí kāi wǒ de dǎo liǎo。 wǒ men zhì zào liǎo yī zhǐ chuán， zhè cì bù shì zài lí hǎi 'àn hěn yuǎn de dì fāng zào。 zhèng dāng wǒ men chàbù duō yǐ zhǔn bèi jià chuán qǐ háng shí， yòu yòu 'èr shí yī gè yě mán rén chéng zhe sān zhǐ dú mù chuán， dài liǎo sān gè fú lǔ dào zhè gè dǎo shàng lái kāi yàn huì liǎo。 qí zhōng yī gè fú lǔ shì gè bái rén， zhè kě bǎ wǒ qì huài liǎo。 wǒ bǎ liǎng zhī niǎo qiāng、 sì zhī huá táng qiāng、 liǎng zhī shǒu qiāng dū zhuāng shàng shuāng bèi dàn yào， gěi liǎo xīng qī wǔ yī bǎ xiǎo fǔ tóu， hái gěi tā hē liǎo hǎo duō gān zhè jiǔ， wǒ zì jǐ dài shàng liǎo dà dāo， wǒ men chōng xià shān qù， bǎ tā men quán shā sǐ liǎo， zhǐ táo zǒu liǎo sì gè yě mán rén。
《 lǔ bīn xùn piào liú jì》 lǔ bīn xùn
fú lǔ zhōng yòu yī gè shì xīng qī wǔ de fù qīn。 nà gè bái rén shì xī bān yá rén， shì wǒ qián jǐ nián kàn jiàn de nà sōu zài wǒ de dǎo shàng chù jiāo de chuán shàng de yī gè xìng cún zhě， dāng shí wǒ hái cóng nà sōu chuán shàng qǔ lái liǎo yī qiān 'èr bǎi duō méi jīn bì， dàn duì zhè xiē qián wǒ háo bù kàn zhòng， yīn wéi tā men bìng bù bǐ shā tān shàng de xǔ duō shā zǐ gèng yòu jià zhí。
wǒ gěi liǎo nà gè xī bān yá rén hé xīng qī wǔ de fù qīn qiāng zhī hé shí wù， jiào tā men chéng zhe wǒ xīn zào de chuán qù bǎ nà sōu xī bān yá chuán shàng yùnàn de shuǐ shǒu men dài dào wǒ de dǎo shàng lái。 zhèng zài děng dài tā men huí lái shí， yòu yī sōu yīng guó chuán yīn shuǐ shǒu nào shì 'ér zài wǒ de dǎo fù jìn pāo liǎo máo。 wǒ bāng nà wèi chuán cháng duó huí liǎo tā de chuán， gēn tā yī qǐ huí dào liǎo yīng guó。 wǒ men zǒu shí dài zǒu liǎo liǎng gè yě xiǎng huí yīng guó qù de lǎo shí de shuǐ shǒu， ér ràng nào shì nào dé zuì xiōng de yī xiē shuǐ shǒu liú zài liǎo dǎo shàng。 hòu lái， nà xiē xī bān yá rén huí lái liǎo， dōuzài dǎo shàng jū liú liǎo xià lái。 kāi shǐ shí tā men shuāng fāng zhēng chǎo bù hé， dàn dìng jū hòu， zhōng yú jiàn lì qǐ liǎo yī gè xīng wàng de zhí mín dì， guò liǎo jǐ nián， wǒ yòu xìng yòu dào nà gè dǎo shàng qù guò yī cì。
wǒ lí kāi nà gè dǎo shí， yǐ zài dǎo shàng dāi liǎo 'èr shí bā nián liǎng gè yuè 'èr shí jiǔ tiān。 wǒ zǒng yǐ wéi wǒ yī dào yīng guó jiù huì gāo xīng bù jìn， méi xiǎng dào wǒ zài nà lǐ què chéng liǎo yī gè yì xiāng rén。 wǒ de fù mǔ dōuyǐ qù shì， zhēn tài lìng rén yí hàn liǎo， yào bù wǒ xiàn zài kě yǐ xiào jìng dì fèng yǎng tā men， yīn wéi wǒ chú liǎo cóng nà sōu xī bān yá chuán shàng qǔ lái de yī qiān 'èr bǎi gè jīn bì zhī wài， hái yòu liǎng wàn yīng bàng děng dài zhe wǒ dào yī gè chéng shí de péng yǒu nà 'ér qù lǐng qǔ， zhè wèi péng yǒu shì yī wèi pú táo yá chuán cháng， zài wǒ qù gān nà xiàng dǎo méi de chāishi zhī qián， wǒ wěi tuō tā jīng yíng wǒ zài bā xī de zhuāng yuán。 zhèng shì wèile qù gān nà chāishi， shǐ wǒ zài dǎo shàng zhù liǎo 'èr shí bā nián。 wǒ jiàn tā rú cǐ chéng shí， shí fēn gāo xīng， wǒ jué dìng měi nián fù gěi tā yī bǎi pú táo yá jīn bì， bìng zài tā sǐ hòu měi nián fù gěi tā 'ér zǐ wǔ shí pú táo yá jīn bì， zuò wéi tā men zhōng shēng de jīn tiē。
wǒ jié liǎo hūn， shēng liǎo sān gè hái zǐ， wǒ chú liǎo yīn wéi yào dào nà gè shàng miàn jiǎng de wǒ zhù guò de dǎo shàng qù kàn kàn， yòu zuò liǎo yī cì háng xíng zhī wài， zài méi zuò màn yóu liǎo。 wǒ zhù zài zhè 'ér， wèiwǒ bù pèi dé dào de xiǎng shòu 'ér xīn huái gǎn jī， jué xīn xiàn zài jiù zhǔn bèi qù zuò yī qiē lǚ xíng zhōng zuì cháng de lǚ xíng。 rú guǒ shuō wǒ xué dào liǎo shénme de huà， nà jiù shì yào rèn shí tuì xiū shēng huó de jià zhí hé qí dǎo zài píng jìng zhōng guò wán wǒ men de yú rì。
《 lǔ bīn xùn piào liú jì》 - xiě zuò bèi jǐng
yà lì shān dà sài 'ěr kē kè de jīng lì gěi liǎo dí fú de líng gǎn zhè bù xiǎo shuō shì dí fú shòu dāng shí yī gè zhēn shí gù shì de qǐ fā 'ér chuàng zuò de。 1704 nián sū gé lán shuǐ shǒu sài 'ěr kē kè zài hǎi shàng yǔ chuán cháng fā shēng zhēng chǎo， bèi chuán cháng yí qì zài huāng dǎo shàng， sì nián hòu bèi jiù huí yīng guó。 sài 'ěr kē kè zài huāng dǎo shàng bìng méi yòu zuò chū shénme zhí dé sòng yáng de yīng xióng shì jì。 dàn dí fú sù zào de lǔ bīn sūn què wán quán shì gè xīn rén， chéng liǎo dāng shí zhōng xiǎo zī chǎn jiē jí xīn mù zhōng de yīng xióng rén wù， shì xī fāng wén xué zhōng dì yī gè lǐ xiǎng huà de xīn xīng zī chǎn zhě xíng xiàng。 tā biǎo xiàn liǎo qiáng liè de zī chǎn jiē jí jìn qǔ jīng shén hé qǐ méng yì shí。
《 lǔ bīn xùn piào liú jì》 - rén wù xíng xiàng
lǔ bīn sūn xìng gé： lǔ bīn sūn shì yī gè chōng mǎn láo dòng rè qíng de rén， wěi dà de rén， jiān yì de rén。 gū shēn yī rén zài zhè huāng wú rén yān de gū dǎo shàng shēng huó liǎo 28 nián。 miàn duì rén shēng kùn jìng， lǔ bīn sūn de suǒ zuò suǒ wéi， xiǎn shì liǎo yī gè yìng hàn zǐ de jiān yì xìng gé yǔ yīng xióng běn sè， tǐ xiàn liǎo zī chǎn jiē jí shàng shēng shí qī de chuàng zào jīng shén hé kāi tuò jīng shén， tā gǎn yú tóng 'è liè de huán jìng zuò dǒu zhēng。 lǔ bīn sūn yòu shì gè zī chǎn zhě hé zhí mín zhě， yīn cǐ jù yòu bō xuē lüè duó de běn xìng。
xīng qī wǔ xìng gé： xīng qī wǔ shì yī gè pǔ sù de rén， zhōng chéng de péng yǒu， zhì huì de yǒng zhě， xiào shùn de 'ér zǐ。 tā zhī 'ēn tú bào， zhōng chéng yòu zé rèn xīn， shì yìng néng lì qiáng， tā hé lǔ bīn xùn hé zuò zhe shī zhǎn bù tóng de jì néng zài dǎo shàng dù guò liǎo duō nián。
《 lǔ bīn xùn piào liú jì》 - shè huì yǐng xiǎng
dí fú de《 lǔ bīn sūn piào liú jì》， shì yī bù liú chuán hěn guǎng de dài biǎo zuò。 1704 nián sū gé lán shuǐ shǒu sài 'ěr kē kè zài hǎi shàng pàn biàn， bèi pāo dào zhì lì hǎi wài huāng dǎo， dù guò 5 nián， zuì hòu dé jiù， dí fú shòu dào zhè yī shì jiàn de qǐ fā， xiě chéng cǐ shū。 lǔ bīn sūn bù tīng fù qīn quàn jiè， chū hǎi jīng shāng fàn mài hēi nú， zài hǎi shàng yùnàn， liú luò huāng dǎo 28 nián， zài dǎo shàng yǔ zì rán dǒu zhēng， shōu liú liǎo yě rén xīng qī wǔ， jiù liǎo yī sōu pàn biàn chuán zhǐ de chuán cháng， huí dào yīng guó， yòu qù bā xī jīng yíng zhòngzhí yuán zhì fù。 cǐ wài hái yòu xù jí。 dì 'èr bù xiě tā jiù dì zhòng yóu， yǐ dǎo de zhù rén zì jū， kāi huà dǎo shàng jū mín， yòu shì chá bā xī zhòngzhí yuán， jiē zhe dào shì jiè gè dì mào xiǎn， bāo kuò zhōng guó hé xī bó lì yà。 dì sān bù zé shì yī bù dào dé shuō jiào de zuò pǐn。《 lǔ bīn xùn piào liú jì》 shì yīng guó xiǎo shuō jiā dān ní 'ěr dí fú 1719 nián fā biǎo de dì yī bù xiǎo shuō， tóng nián yòu chū bǎn liǎo xù piān。
《 lǔ bīn xùn piào liú jì》 - zuò pǐn píng jià
hé zuò zhě dí fú yī yàng， xiǎo shuō de zhù rén gōng lǔ bīn xùn kè luó suǒ shì yī gè yǒng bù pí juàn、 yǒng bù 'ān shēng de xíng dòng zhě， shì dāng shí bù duàn kuò zhāng、 bù duàn jué qǔ de zī běn zhù yì yuán shǐ jī lěi shí qī de shè huì de diǎn xíng chǎn wù。 tā bù xiè shǒu chéng， qīng xīn kāi tuò， sān fān wǔ cì dì lí kāi xiǎo kāng zhī jiā， chū hǎi chuǎng tiān xià； tā zāo yù hǎi nán liú luò dào huāng dǎo shàng yǐ hòu， bù zuò tàn mìng yùn bù jì， ér shì chōng fēn lì yòng zì jǐ de tóu nǎo hé shuāng shǒu， xiū jiàn zhù suǒ、 zhòngzhí liáng shí、 xùn yǎng jiā chù、 zhì zào qì jù、 féng rèn yī fú， bǎ huāng dǎo gǎi zào chéng liǎo jǐng rán yòu xù、 xīn xīn xiàng róng de jiā yuán。 tā liú làng duō nián， lì jīng qiān xīn wàn kǔ， zhōng yú huò qǔ liǎo yī bǐ kě guān de cái fù， wán chéng liǎo tā nà gè shí dài de diǎn xíng yīng xióng rén wù de chuàng yè lì chéng。
běn shū chéng xíng zài yī gè wàn xiàng gēngxīn de zhuǎn xíng shè huì， bēn tū wǎng fù yú wù zhì zhuī qiú hé jīng shén zhuī qiú de shuāngchóng mí gōng， lǔ bīn xùn kè luó suǒ zhè gè dài yòu xiān míng shí dài de rén wù jí qí xù shù yǐ qí bó bó de shēng qì、 tiān zhēn de xìn xīn、 jiān rèn fèn dǒu de jīng shén hé duì zì shēn de yán sù xǐngchá huàn qǐ liǎo yī dài yòu yī dài dú zhě de gòng míng hé shēn sī。
dān ní 'ěr dí fú de xiǎo shuō zì 19 shì jì mò bèi chū cì yì jiè zhī hòu jiù duì dāng shí zhōng guó shè huì chǎn shēng liǎo hěn dà yǐng xiǎng . zài zhōng guó de duǎn zàn huī huáng zhù yào shòu yì rù yǔ shè huì de zōng jiào、 zhèng zhì hé yì shí xíng tài de yǐng xiǎng。
The story was likely influenced by the real-life Alexander Selkirk, a Scottish castaway who lived four years on the Pacific island called "Más a Tierra" (in 1966 its name was changed to Robinson Crusoe Island), Chile. However, the details of Crusoe's island were probably based on the Caribbean island of Tobago, since that island lies a short distance north of the Venezuelan coast near the mouth of the Orinoco river, and in sight of the island of Trinidad. It is also likely that Defoe was inspired by the Latin or English translations of Ibn Tufail's Hayy ibn Yaqdhan, an earlier novel also set on a desert island. Another source for Defoe's novel may have been Robert Knox's account of his abduction by the King of Ceylon in 1659 in "An Historical Account of the Island Ceylon," Glasgow: James MacLehose and Sons (Publishers to the University), 1911.
Plot summary
Crusoe (the family name transcribed from the German name "Kreutznaer" or "Kreutznär") sets sail from the Queen's Dock in Hull on a sea voyage in September 1651, against the wishes of his parents, who want him to stay home and assume a career in law. After a tumultuous journey that sees his ship wrecked by a vicious storm, his lust for the sea remains so strong that he sets out to sea again. This journey too ends in disaster as the ship is taken over by Salé pirates, and Crusoe becomes the slave of a Moor. After two years of slavery, he manages to escape with a boat and a boy named Xury; later, Crusoe is befriended by the Captain of a Portuguese ship off the western coast of Africa. The ship is en route to Brazil. There, with the help of the captain, Crusoe becomes owner of a plantation.
Years later, he joins an expedition to bring slaves from Africa, but he is shipwrecked in a storm about forty miles out to sea on an island (which he calls the Island of Despair) near the mouth of the Orinoco river on September 30, 1659. His companions all die. Having overcome his despair, he fetches arms, tools, and other supplies from the ship before it breaks apart and sinks. He proceeds to build a fenced-in habitation near a cave which he excavates himself. He keeps a calendar by making marks in a wooden cross built by himself, hunts, grows corn and rice, dries grapes to make raisins for the winter months, learns to make pottery, raises goats, etc., using tools created from stone and wood which he harvests on the island, and adopts a small parrot. He reads the Bible and suddenly becomes religious, thanking God for his fate in which nothing is missing but society.
Years later, he discovers native cannibals who occasionally visit the island to kill and eat prisoners. At first he plans to kill them for committing an abomination, but later realizes that he has no right to do so as the cannibals do not knowingly commit a crime. He dreams of obtaining one or two servants by freeing some prisoners; and indeed, when a prisoner manages to escape, Crusoe helps him, naming his new companion "Friday" after the day of the week he appeared. Crusoe then teaches him English and converts him to Christianity.
After another party of natives arrives to partake in a cannibal feast, Crusoe and Friday manage to kill most of the natives and save two of the prisoners. One is Friday's father and the other is a Spaniard, who informs Crusoe that there are other Spaniards shipwrecked on the mainland. A plan is devised wherein the Spaniard would return with Friday's father to the mainland and bring back the others, build a ship, and sail to a Spanish port.
Before the Spaniards return, an English ship appears; mutineers have taken control of the ship and intend to maroon their former captain on the island. Crusoe and the ship's captain strike a deal, in which he helps the captain and the loyalist sailors retake the ship from the mutineers, whereupon they intend to leave the worst of the mutineers on the island. Before they leave for England, Crusoe shows the former mutineers how he lived on the island, and states that there will be more men coming. Crusoe leaves the island December 19, 1686, and arrives back in England June 11, 1687. He learns that his family believed him dead and there was nothing in his father's will for him. Crusoe then departs for Lisbon to reclaim the profits of his estate in Brazil, which has granted him a large amount of wealth. In conclusion, he takes his wealth over land to England to avoid traveling at sea. Friday comes with him and along the way they endure one last adventure together as they fight off hundreds of famished wolves while crossing the Pyrenees.
huó lì chōng pèi de nián qīng shuǐ shǒu 'ài dé méng · táng tài sī（ zhān mǔ sī · kǎ wéi zé） shì gè zhèng zhí chéng shí de xiǎo huǒ zǐ， tā yuán běn yòu zhe píng jìng de shēng huó hé yī gè měi lì de wèi hūn qī měi sài tái sī（ dá gé mǎ lā · duō mǐ ní cí kè）， kě zhè yī qiē què bèi tā rén de dù jì gěi fěn suì liǎo héng héng jiù zài tā men jiāng yào jǔ xíng hūn lǐ de shí hòu， ài dé méng de hǎo péng yǒu fèi nán dé（ gài · pí 'ěr sī） wèile duó dé měi sài tái sī 'ér shè jì xiàn hài liǎo tā。 qīng bái de zì jǐ láng chēng rù yù， wèi hūn qī zé tóu rù liǎo chóu rén de huái bào， zhè yī qiē chè dǐ diān fù liǎo 'ài dé méng de jià zhí guān hé shì fēi guān niàn， gǎi biàn liǎo tā duì zhè gè shì jiè de kàn fǎ。 suǒ xìng de shì， shí sān nián mèng yǎn bān de jiān yù shēng huó méi yòu zhé mó kuǎ 'ài dé méng de shēn xīn， xiāng fǎn， què jiān dìng liǎo tā bào chóu de jué xīn。 zài yī wèi tóng yàng bèi wū xiàn rù yù de jiān yǒu（ lǐ chá dé · hā lǐ sī） de diǎn huà xià， ài dé méng jīng xīn cèhuà liǎo yuè yù xíng dòng bìng yī jǔ chéng gōng， yǒng yuǎn lí kāi liǎo nà zuò chòu míng zhāo zhāng de jī dū shān chéng bǎo。 cǐ hòu， ài dé méng yáo shēn yī biàn chéng liǎo shén mì 'ér fù yòu de jī dū shān bó jué， tā píng zhe zì jǐ de mèi lì、 jiǎo zhà hé lěng kù wú qíng， zhú jiàn hùn jìn liǎo fǎ guó guì zú de juàn zǐ， yī bù bù duì nà gè céng jīng bèi pàn tā de jiā huǒ shí shī zhe cán kù de bào fù jìhuà……
《 jī dū shān bó jué》 - píng jià
《 jī dū shān bó jué》 de zuò zhě shì fǎ guó zuò jiā dà zhòng mǎ， gù shì qíng jié diē dàng qǐ fú， yū huí qū zhé， cóng zhōng yòu yǎn huà chū ruò gān cì yào qíng jié， xiǎo chāqǔ jǐn còu jīng cǎi， què bù xuān bīn duó zhù； qíng jié lí qí què bù wéi fǎn shēng huó zhēn shí。 xiǎo shuō kāi juàn jiù yǐn chū jǐ gè zhù yào rén wù， qián miàn 1/4 xiě zhù rén gōng bèi xiàn hài de jīng guò， hòu miàn 3/4 xiě rú hé fù chóu， mài luò qīng chǔ， fù chóu de 3 tiáo xiàn suǒ jiāo chā 'ér bù líng luàn， bǎo chí yī dìng de dú lì xìng zhī hòu cái huì hé zài yī qǐ。 yīn cǐ，《 jī dù shān bó jué》 bèi gōng rèn wéi tōng sú xiǎo shuō zhōng de diǎn fàn。 zhè bù xiǎo shuō chū bǎn hòu， hěn kuài jiù yíng dé liǎo guǎng dà dú zhě de qīng lái， bèi fān yì chéng jǐ shí zhǒng wén zì chū bǎn， zài fǎ guó hé měi guó duō cì bèi pāi chéng diàn yǐng。
zì xiǎo shuō wèn shì yǐ lái zuò zhě de rén shēng zhé xué yī zhí wéi shì rén suǒ jīn jīn lè dào。
qí zhōng zuì zhù míng de jù zǐ chū xiàn zài xiǎo shuō de zuì hòu yī zhāng：
shì shàng méi yòu xìng fú hé bù xìng， yòu de zhǐ shì jìng kuàng de bǐ jiào， wéi yòu jīng lì kǔ nán de rén cái néng gǎn shòu dào wú shàng de xìng fú。 bì xū jīng lì guò sǐ wáng cái néng gǎn shòu dào shēng de huān lè。 huó xià qù bìng qiě shēng huó měi mǎn， wǒ xīn líng zhēn shì de hái zǐ men。 yǒng yuǎn bù yào wàng jì， zhí zhì shàng dì xiàng rén jiē shì chū wèi lái zhī rì， rén lèi quán bù zhì huì jiù bāo hán zài liǎng gè cí zhōng： děng dài hé xī wàng。
The story takes place in France, Italy, islands in the Mediterranean and the Levant during the historical events of 1815–1838 (from just before the Hundred Days through to the reign of Louis-Philippe of France). The historical setting is a fundamental element of the book. It is primarily concerned with themes of hope, justice, vengeance, mercy, forgiveness and death, and is told in the style of an adventure story.
Background to the plot
Dumas has himself indicated that he had the idea for the revenge in The Count of Monte Cristo from a story which he had found in a book compiled by Jacques Peuchet, a French police archivist and published in 1838, after the death of the author. Dumas included this essay in one of the editions from 1846. Peuchet related the tale of a shoemaker named Pierre Picaud, who was living in Nîmes in 1807. Picaud had been engaged to marry a rich woman, but three jealous friends falsely accused him of being a spy for England. He was imprisoned for seven years. During his imprisonment a dying fellow prisoner bequeathed him a treasure hidden in Milan. Picaud was released in 1814. He took possession of the treasure and returned under another name to Paris. Picaud spent ten years plotting his successful revenge against his former friends. In another of the "True Stories" Peuchet relates the tale of a terrible affair of poisoning in a family. This story, also quoted in the Pleiade edition, has obviously served as model for the chapter of the murders inside the Villefort family. The introduction to the Pleiade edition mentions other sources from real life: the abbé Faria really existed and died in 1819 after a life with much resemblance to that of the Faria in the novel. As for Dantès, his fate is quite different from his model in Peuchet's manuscript, since the latter is murdered by the "Caderousse" of the plot. But Dantès has "alter egos" in two other works of Dumas: First in "Pauline" from 1838, then, more significantly, in "Georges" from 1843 where a young man with black ancestry is preparing a revenge against white people who had humiliated him.
Historical background
The success of Monte Cristo coincides with that of France's Second Empire and besides the description of the return of Napoleon I in 1815 Dumas hints at least once to the events: the governor at the Château d'If is promoted to a position at the castle of Ham. The attitude of Dumas towards "bonapartisme" was extremely complicated and involved. This conflict dates back to his father, who was a coloured man, borne of a slave and who became a famous general during the French Revolution. When new racist laws were applied in 1802 the general was dismissed from the army and he was profoundly bitter towards Napoleon when he died in 1806. An event in 1840 renewed the patriotic support for the Bonaparte family in the population: the ashes of Napoleon I were brought to France and became object of veneration in the church of Les Invalides.
In "Causeries" from 1860, Dumas prints a short paper on the genesis of Monte-Cristo. This essay, called "État civil du "Comte de Monte-Cristo"" is included in the Pléiade edition (Paris, 1981) as an "annexe". It appears that Dumas had close and intimate contacts with members of the Bonaparte family while living in Florence in 1841. In a small boat he sailed around the island of Monte-Cristo accompanied by one of the young princes – a cousin to he who was to be emperor of France ten years later. During this trip he promised the prince that he would write a novel with the island's name as title. At this moment the future emperor was imprisoned at the citadel of Ham – a name that is mentioned in the novel. Dumas did visit him there, but he does not mention it in "Etat civil..." Louis Napoleon was imprisoned for life, but he fled in disguise. This happened in 1846 while Dumas's novel was already a gigantic success. Just as Dantès, Louis Napoleon reappeared in Paris as a powerful and enigmatic man of the world. In 1848, however, Dumas did not vote for Louis Napoleon, but the novel may have contributed – against the will of the writer – to the victory of the future Napoleon III.
A chronology of The Count of Monte Cristo and Bonapartism
Dumas grandfather:
1793: Thomas-Alexandre Dumas is promoted to the rank of general in the army of the First French Republic.
1794: He disapproves of the revolutionary terror in Western France.
1795-97: He becomes famous. Fights under Napoleon.
1802: Black officers are dismissed from the army. The Empire reestablishes slavery.
1802: Birth of his son, Alexandre Dumas père.
1806: Th. A. Dumas dies, still bitter towards the injustice of the Empire.
Dumas father:
1832: The only son of Napoleon I dies.
1836: A. Dumas is already a famous writer.
1836: First putsch by Louis Napoleon, aged 28. Fails completely.
1840: June. A law is passed to bring the ashes of Napoleon I to France.
1840: August. Second putsch of Louis Napoleon. He is imprisoned for life and becomes known as the candidate for the imperial succession.
1841: Dumas lives in Florence and becomes acquainted with King Jérôme and his son, Napoléon.
1841-44: The novel is conceived and written.
1846: The novel is a European bestseller.
1846: Louis Napoleon escapes from his prison.
1848: French Second Republic. Louis Napoleon is elected its first president but Dumas does not vote for him.
1857: Dumas publishes État civil du Comte de Monte-Cristo
Plot summary
Edmond Dantès
Edmond Dantès, a young and successful merchant sailor recently granted his own command by his dying captain Leclère, returns to Marseille to marry his fiancée Mercédès. Leclère, a supporter of the exiled Napoléon I, charges Dantès on his deathbed to deliver two objects: a package to Maréchal Bertrand (who had been exiled with Napoleon Bonaparte to the isle of Elba), and a letter from Elba to an unknown man in Paris. Subsequently, an anonymous letter accuses Dantès of being a Bonapartist traitor. The letter is later revealed to have been written by Mercédès' cousin Fernand Mondego and Danglars, Dantès' ship's supercargo. Villefort, the deputy crown prosecutor in Marseille, assumes the duty of investigating the matter. Villefort is normally considered a just man, but on discovering that the recipient of the letter from Elba is his Bonapartist father, he ultimately chooses to save his political career and condemns Dantès without trial to life imprisonment and protects his father by destroying the incriminating letter.
During his fourteen years imprisonment in the Château d'If, Edmond is visited in his cell by the Abbé Faria, a priest and fellow prisoner trying to tunnel his way to freedom. Faria had been imprisoned for proposing a united Italy. In the Chateau d'If, he was known as "The Mad Priest", claiming to be in possession of a massive treasure, and offering to reward the guards handsomely, should they release him. Faria provides Dantès with education in subjects including languages, history, economics, philosophy, mathematics, chemistry and the manners of political society. The priest, ill from a form of catalepsy and knowing that he will soon die, confides in Dantès the location of a treasure hoard on the Italian islet of Monte Cristo. After Faria's death the following year, Dantès escapes and is rescued by a smuggling ship. After several months of working with the smugglers, he gets the opportunity to go to Monte Cristo for a goods exchange. Dantès fakes an injury and convinces the smugglers to temporarily leave him on Monte Cristo. He then makes his way to the hiding place of the treasure. He returns to Marseilles, where he learns that his father has died in poverty. He buys himself a yacht and hides the rest of the treasure on board. With his new found wealth and education, Dantès buys the island of Monte Cristo and the title of Count from the Tuscan Government.
Returning to Marseille, Dantès puts into action his plans for revenge. Traveling in disguise as the Abbé Busoni, Edmond first meets Caderousse, whose intervention might have saved Dantès from imprisonment. Now living in poverty, Caderousse believes his current state is punishment by God for his jealousy and cowardice. Dantès learns from Caderousse how his other enemies have all become wealthy and prosperous since Dantès' betrayal. Edmond gives Caderousse a diamond that can be either a chance to redeem himself, or a trap that will lead to his ruin. Caderousse murders the jeweler to whom he sold the diamond and is sentenced to life in the prison galleys. Dantès (using another disguise, this time as the English Lord Wilmore) frees Caderousse and gives him another chance at redemption. Caderousse does not take it, and becomes a career criminal.
Learning that his old employer Morrel is on the verge of bankruptcy and disgrace after his ships have been lost at sea, Dantès (in the guise of a senior clerk of the banking firm of Thomson and French of Rome) buys all of Morrel's outstanding debts and gives Morrel an extension of three months to fulfill his obligations. At the end of the three months and with no way to repay his debts, Morrel is about to commit suicide when he learns that all of his debts have been mysteriously paid and that one of his ships has returned with a full cargo (the ship had been secretly rebuilt and laden by Dantès).
The Count of Monte Cristo
The story then moves forward nine years. Dantès debuts in public as the Count of Monte Cristo, a mysterious and fabulously rich aristocrat. He surfaces first in Rome, where he becomes acquainted with the Baron Franz d'Épinay, a young aristocrat, and Viscount Albert de Morcerf, Mercédès's and Fernand's son. He later rescues Albert from Italian bandits. Dantès subsequently moves to Paris, and with Albert de Morcerf's introduction, becomes the sensation of the city. Due to his knowledge and rhetorical power, even his enemies - who do not recognize him as Edmond Dantès - find him charming, and because of his status they all desire his friendship.
Monte Cristo meets Danglars, who has become a wealthy banker. Monte Cristo dazzles the crass Danglars with his seemingly endless wealth, eventually persuading him to extend him a 6,000,000 francs credit, and withdraws nine hundred thousand. Under the terms of the arrangement, Monte Cristo can demand access to the remainder at any time. The Count manipulates the bond market, through a false telegraph signal, and quickly destroys a large portion of Danglars' fortune, and the rest of it begins to rapidly disappear through mysterious bankruptcies, suspensions of payment, and more bad luck on the Stock Exchange.
Monte Cristo threatens Villefort with knowledge of his past affair with Madame Danglars, which produced a son. Believing the child to be stillborn, Villefort had buried the child. The boy was rescued and raised in Corsica by his enemy, Bertuccio (now Monte Cristo's servant), who gave the child the name "Benedetto". As an adult, Benedetto becomes a career criminal who is sentenced to the galleys with Caderousse, but after being freed by "Lord Wilmore", takes the identity of "Viscount Andrea Cavalcanti" (sponsored by the Count) and cons Danglars into betrothing his daughter Eugénie to him. Caderousse blackmails Andrea, threatening to reveal his past.
Cornered by "Abbé Busoni" while attempting to rob Monte Cristo's house, Caderousse begs to be given another chance, but Dantès grimly notes that the last two times he did so, Caderousse did not change. He forces Caderousse to write a letter to Danglars exposing Viscount Cavalcanti as an impostor and allows Caderousse to leave the house, but the moment Caderousse leaves the estate, he is stabbed in the back by Andrea. Caderousse manages to dictate and sign a deathbed statement identifying his killer, and Monte Cristo reveals his true identity to Caderousse moments before Caderousse dies.
Ali Pasha, the ruler of Yannina (in French, Janina), was betrayed to the Turks by Fernand. After his death, his wife Vasiliki and his daughter Haydée were sold into slavery by Fernand; subsequently, Haydée was located and rescued by Dantès and becomes the Count's ward. The Count manipulates Danglars into researching the event, which is published in a newspaper. As a result, Fernand is brought to trial for his crimes. Haydée testifies against him, and Fernand is disgraced.
Mercédès, still as attractive as before, alone recognizes Monte Cristo as Dantès. When Albert blames Monte Cristo for his father's downfall and publicly challenges him to a duel, Mercédès goes secretly to Monte Cristo and begs him to spare her son. During this interview, she learns the entire truth of his arrest and imprisonment. She later reveals the truth to Albert, which causes Albert to make a public apology to Monte Cristo. Albert and Mercédès disown Fernand, who is also confronted with Dantès' true identity and subsequently commits suicide. The mother and son depart to build a new life free of disgrace. Albert enlists and goes to Africa as a soldier in order to rebuild his life and honor under a new name, and Mercédès begins a solitary life in Marseille.
Villefort's daughter by his first wife, Valentine, stands to inherit the entire fortune of her grandfather (Noirtier) and of her mother's parents (the Saint-Mérans), while his second wife, Héloïse, seeks the fortune for her small son Édouard. Monte Cristo is aware of Héloïse's intentions, and "innocently" introduces her to the technique of poison. Héloïse fatally poisons the Saint-Mérans, so that Valentine inherits their fortune. However, Valentine is disinherited by Noirtier in an attempt to prevent Valentine's impending marriage with Franz d'Épinay. The marriage is cancelled when d'Épinay learns that his father (believed assassinated by Bonapartists) was killed by Noirtier in a duel. Afterwards, Valentine is reinstated in Noirtier's will. After a failed attempt on Noirtier's life which instead claims the life of Noirtier's servant Barrois, Héloïse then targets Valentine so that Édouard will finally get the fortune. However, Valentine is the prime suspect in her father's eyes in the deaths of the Saint-Merans and Barrois.
After Monte Cristo learns that Morrel's son Maximilien is in love with Valentine de Villefort, he saves her by making it appear as though Héloïse's plan to poison Valentine has succeeded and that Valentine is dead. Villefort learns from Noirtier that Héloïse is the real murderer and confronts her, giving her the choice of a public execution or committing suicide by her own poison.
Fleeing after Caderousse's letter exposes him, Andrea gets as far as Compiègne before he is arrested and brought back to Paris, where he is prosecuted by Villefort. Andrea reveals that he is Villefort's son and was rescued after Villefort buried him alive. Villefort admits his guilt and flees the court. He rushes home to stop his wife's suicide but he is too late; she has poisoned her son as well. Dantès confronts Villefort, revealing his true identity, but this, combined with the shock of the trial's revelations and the death of both his wife and son, drives Villefort insane. Dantès tries to resuscitate Édouard but fails, and despairs that his revenge has gone too far. It is only after he revisits his cell in the Château d'If that Dantès is reassured that his cause is just and his conscience is clear, that he can fulfill his plan while being able to forgive both his enemies and himself.
After the Count's manipulation of the bond market, all that Danglars is left with is a tarnished reputation and five million francs he has been holding in deposit for the hospitals. The Count demands this sum to fulfill their credit agreement, and Danglars embezzles the hospital fund. Abandoning his wife, Danglars flees to Italy with the Count's receipt, hoping to live in Vienna in anonymous prosperity. However, while leaving Rome he is kidnapped by the Count's agent Luigi Vampa. Danglars is imprisoned the same way that Dantès was. Forced to pay exorbitant prices for food, Danglars eventually signs away all but 50,000 francs of the stolen five million (which Dantès anonymously returns to the hospitals). Nearly driven mad by his ordeal, Danglars finally repents his crimes. Dantès forgives Danglars and allows him to leave with his freedom and the money he has left.
Maximilien Morrel, believing Valentine to be dead, contemplates suicide after her funeral. Dantès reveals his true identity and explains that he rescued Morrel's father from bankruptcy, disgrace and suicide years earlier. He persuades Maximilien to delay his suicide for a month. On the island of Monte Cristo a month later, Dantès presents Valentine to Maximilien and reveals the true sequence of events.
Having found peace, Dantès leaves for an unknown destination to find comfort and possibly love with Haydée, who has declared her love for him.
Characters
There are a large number of characters in the book, and the importance of many of them is not immediately obvious. Furthermore, their fates are often so interwoven that their stories overlap significantly. The chart below shows the relationships between the many characters of the novel.
Character relationships in The Count of Monte Cristo
Edmond Dantès and his aliases
* Edmond Dantès (born 1796) — Dantès is initially a generally well-liked sailor who is inexperienced - but not in his profession - and seems to have everything going for him, including a beautiful fiancée (Mercédès) and an impending promotion to ship's captain. After his transformation into the Count of Monte Cristo, his original name is revealed to his main enemies only as each revenge is completed, often driving his already weakened victims into despair.
* Number 34 — Early in Dantès' stay in prison, the governor of the Château d'If is replaced. This governor does not feel it is worth his time to learn the names of all the prisoners, and instead chooses to refer to them by the numbers of their cells. Thus, Dantès is called Number 34 during his imprisonment.
* Chief Clerk of Thomson and French — Shortly after Edmond escapes and learns of Morrel's sorry state of affairs, he disguises himself as an English senior agent of the banking firm of Thomson and French, with whom Morrel deals, and in this form sees Morrel for the first time in fifteen years. Precise and formal, this persona is a phlegmatic, serious banking officer.
* Count of Monte Cristo — The persona that Edmond assumes when he escapes from his incarceration and while he carries out his dreadful vengeance. This persona is marked by a pale countenance and a smile which can be diabolical or angelic. Educated and mysterious, this alias is trusted in Paris and fascinates the people.
* Lord Wilmore — The English persona in which Dantès performs seemingly random acts of generosity. The Englishman is eccentric and refuses to speak French. This eccentric man, in his kindness, is almost the opposite of the Count of Monte Cristo and Dantès exploits this to persuade Villefort that Lord Wilmore is an enemy of Monte Cristo.
* Sinbad the Sailor — The persona that Edmond assumes when he saves the Morrel family. Edmond signs a letter to Mlle Julie using this persona, which was accompanied by a large diamond and a red satin purse. (Sinbad the sailor is the common English translation of the original French Simbad le marin.)
* Abbé Busoni — The persona that Edmond puts forth when he needs deep trust from others because the name itself demands respect via religious authority.
* Monsieur Zaccone — Dantès, in the guise of both Abbé Busoni and Lord Wilmore, told an investigator sent by Villefort that this was the Count of Monte Cristo's true name.
Dantès' allies
* Abbé Faria — Italian priest and sage; befriends Edmond while both are prisoners in the Château d'If, acts as a father for Edmond Dantès (as Dantès said once "I can have my revenge, thanks to you, my second father") and reveals the secret of the island of Monte Cristo to Edmond. Becomes the surrogate father of Edmond, while imprisoned, digging a tunnel to freedom he educates Edmond in languages, economics, and all the current sciences (including chemistry which comes to Dantès' aid greatly during his revenge plan) and is the figurative father of the Count of Monte Cristo. He dies from the third attack of catalepsy.
* Giovanni Bertuccio — The Count of Monte Cristo's steward and very loyal servant; in the Count's own words, Bertuccio "knows no impossibility" and is sure of never being dismissed from the Count's service because, as the Count states, he (the Count) will "never find anyone better." He had declared a vendetta against Monsieur de Villefort for Villefort's refusal to prosecute the murderer of Bertuccio's brother. Tracking Villefort to Auteuil, he stabs Villefort, leaving him to die, but by coincidence becomes involved in Villefort's personal life by rescuing his illegitimate newborn, later named Benedetto (Italian for blessed) by Bertuccio. Years later, he is jailed on suspicion of the murder of a jeweler, but is released when Caderousse is arrested and proved to have committed the crime, and "Abbé Busoni" gives him a recommendation for employment to Monte Cristo.
* Luigi Vampa — celebrated Italian bandit and fugitive; owes much to the Count of Monte Cristo, and is instrumental in many of the Count's plans. He enjoys reading classic historical works dealing with great military leaders.
* Peppino — Formerly a shepherd helping Luigi Vampa, he later becomes a bandit and full member of Vampa's gang. He is condemned to be executed by Roman authorities, but Monte Cristo secures his pardon from the Pope. His alias is Rocca Priori.
* Haydée (also transliterated as Haidée) — The daughter of Ali Pasha of Yannina, eventually bought by the Count of Monte Cristo from the Sultan Mahmoud. Even though she was purchased as a slave, Monte Cristo treats her with the utmost respect. She lives in seclusion by her own choice, but is usually very aware of everything that is happening outside. She usually goes to local operas accompanied by the Count. At the trial of the Count de Morcerf, she provides the key evidence required to convict Fernand of treason and felony. She is deeply in love with the Count of Monte Cristo, and although he feels he is too old for her, he eventually reciprocates.
* Ali — Monte Cristo's Nubian slave, a mute (his tongue had been cut out as part of his punishment for intruding into the harem of the Bey of Tunis; his hands and head had also been scheduled to be cut off, but the Count bargained with the Bey for Ali's life). He is completely loyal and utterly devoted to the Count. Ali is also a master of his horses.
* Baptistin — Monte Cristo's valet-de-chambre. Although only in Monte Cristo's service for little more than a year, he has become the number three man in the Count's household and seems to have proven himself completely trustworthy and loyal, except for some financial irregularities that some employers, and certainly his own, were considering practically normal for a servant (i.e., when buying cosmetics or other supplies for his employer, he was inflating the price and pocketing the difference). After his probationary year in Monte Cristo's service expires, the Count informs Baptistin that he "suits" him, but warns him that the financial irregularities are to cease immediately.
Morcerf family
* Mercédès Mondego — (née: Herrera) Edmond's fiancée at the beginning until their planned marriage is interrupted by Edmond's imprisonment. Eighteen months later, she marries cousin Fernand Mondego (while still pledging eternal love to Dantès) because she believes Edmond is dead and feels alone in the world. Thus, she lives as Mme. the Countess de Morcerf in Paris and bears a son. Dantès's release and reappearance as the Count complicates matters as her love for him is evident. But, at the end of the story, Dantès comes to realize that it is Haydée he loves. He has a respect for Mercédès, but leaves her to live her life in Marseille in the house in which he lived as a young man (which he had bought).
* Fernand Mondego — Later known as the Count de Morcerf. A Catalan and Edmond's rival and suitor for Mercédès; will do anything to get her, including bearing false witness against Edmond. He is overall a representation of evil, as he lies and betrays throughout his military career for his own personal gain. When confronted by his nefarious acts, disgraced in public and abandoned by his wife and son, he commits suicide.
* Albert de Morcerf — Son of Mercédès and the Count de Morcerf. Is befriended by Monte Cristo in Rome; viewed by Monte Cristo as the son that should have been his with Mercédès, but does not have as strong a filial bond with him as does Maximilien Morrel. At the end, he realizes his father's crimes and, along with his mother Mercédès, abandons him and his name.
Danglars family
* Baron Danglars — Initially the supercargo (the owner's agent) on the same ship on which Dantès served as first mate; he longs to be wealthy and powerful and becomes jealous of Dantès for his favor with Pierre Morrel. He also developed a grudge against Dantès, with whom he has had some arguments regarding the accuracy of his accounting. The source of his wealth is not clear but is possibly due to unscrupulous financial dealings while in the French army and has reportedly been multiplied by speculation and marriage. His intelligence is only evident where money is concerned; otherwise he is a member of the nouveau riche with only superficial good taste (he cannot even tell the difference between original paintings and copies) and no true family feelings. Although arguably guiltier than Morcerf, Caderousse and Villefort, having written the denunciation letter, he is the only one whom Dantès forgives besides Caderousse,who died immediately afterward, and is partially spared, ending up a fugitive with barely enough money to support himself, but alive and with his sanity.
* Madame Danglars — Full name is Hermine Danglars (formerly Baroness Hermine de Nargonne during a previous marriage), née de Servieux. Was independently wealthy before marrying Danglars. With help and private information from her close friend and lover Ministerial Secretary Lucien Debray, Madame Danglars secretly invests money and is able to amass over a million francs for her own disposal. During her marriage to the Baron de Nargonne, she had an affair with Gérard de Villefort, with whom she had an illegitimate son (See Benedetto).
* Eugénie Danglars — The daughter of Danglars, engaged at first to Albert de Morcerf and later to "Andrea Cavalcanti" but who would rather stay unwed, living "an independent and unfettered life" as an artist. She dresses as a man and runs away with another girl, Louise d'Armilly after the collapse of her intended marriage to Andrea Cavalcanti; these connotations were considered scandalous. During their flight from Paris, she and Louise, traveling as brother and sister (Eugénie had disguised herself in men's clothing), stopping at an inn at Compiègne requested a room with two beds, yet Benedetto found them in bed together.
Villefort family
* Gérard de Villefort — A royal prosecutor who has even denounced his own father (Noirtier) in order to protect his own career. He is responsible for imprisoning Edmond Dantès to protect his political aspirations. After his attempted infanticide is publicly revealed and his second wife kills herself and their son, he loses his sanity.
* Renée de Villefort, née de Saint-Méran — Gérard de Villefort's first wife, mother of Valentine de Villefort.
* Monsieur le Marquis de Saint-Méran and Madame la Marquise de Saint-Méran — Renée's parents and Valentine's maternal grandparents. Both poisoned by Valentine's stepmother in order for Valentine to inherit their wealth which, through a planned series of further deaths in the family (Valentine's and her grandfather's), will be inherited by Valentine's half brother.
* Valentine de Villefort — The daughter of Gérard de Villefort and his first wife, Renée (née de Saint-Méran). She falls in love with Maximilien Morrel, is engaged to Baron Franz d'Épinay, is almost poisoned by her stepmother, saved once by her grandfather Noirtier, and is finally saved by Dantès. Valentine is the quintessential (French, nineteenth century) female: beautiful, docile, and loving. The only person she feels that she can confide in is her invalid grandfather.
* Monsieur Noirtier de Villefort — The father of Gérard de Villefort and grandfather of Valentine and Édouard (and, without knowing it, of Benedetto as well). After suffering an apoplectic stroke, Noirtier becomes mute and a paralytic, but can communicate with Valentine, Gérard and his servant Barrois through use of his eyelids and eyes. Although utterly dependent on others, he helps to save Valentine from the poison attempts of her stepmother and sabotages her marriage arrangement to Baron Franz d'Épinay. An ardent Jacobin Revolutionary turned Bonapartist, he is revealed to be the President of a club of Bonapartists conspiring to overthrow the restored monarchy and re-establish Napoleon as Emperor. Gérard de Villefort had realized that Edmond intended to fulfill his dying captain's last wish by conveying a letter from the imprisoned Napoleon on Elba to Noirtier in Paris, and therefore imprisoned Edmond (who knew nothing about the family connection) in order to hide the fact that his father was a conspirator, which might have hindered Gérard's advancement.
* Héloïse de Villefort — The murderous second wife of Villefort, who is motivated to protect and nurture her only son and ensure his inheritance. She becomes a murdereress with the assistance of Monte Cristo who discreetly and with purposeful indirectness suggests which poison to use, puts the poison into her possession (for "medicinal purposes”), and gives her the technical know-how and the philosophical outlook to commit murder (her motivation is clearly presented as that of a mother whose love for her son has taken precedence over her morals and reason). Villefort threatens to have her arrested and executed unless she kills herself and she does so before her husband, having changed his mind, gets a chance to stop her.
* Édouard de Villefort — the only legitimate son of Villefort. A very intelligent but extremely spoiled and selfish little boy who is unfortunately swept up in his mother's greed (his mother kills him before committing suicide). (His name is sometimes translated as Edward de Villefort.) The fact that he was an innocent victim makes Dantès feel that he went too far in his revenge and explains why he treats Danglars more leniently.
* Benedetto — The illegitimate son of de Villefort and Hermine de Nargonne (now Baroness Hermine Danglars); born in Auteuil, raised by Bertuccio (later Monte Cristo's steward) and his sister-in-law, Assunta in the little village of Rogliano, at the extremity of Cape Corso. Murderer and thief. Is helped to escape from a prison galley and travels to Paris to become "Andrea Cavalcanti".
Morrel family
* Pierre Morrel — Edmond Dantès's patron and owner of the major Marseille shipping firm of Morrel & Son. He is a very honest and shrewd businessman and is also very fond of Edmond and eager to advance his interests. After Edmond is arrested, he tries his hardest to help Edmond and is hopeful of his release when Napoleon is restored to power, but because of his sympathies for the Bonapartist cause, he is forced to back down and abandon all hope after the Hundred Days and second Restoration of the monarchy. Between 1825 and 1830, his firm undergoes critical financial reverses due to the loss of all of his ships at sea, and he is at the point of bankruptcy and suicide when Monte Cristo (in the guise of an English clerk from the financial firm of Thompson and French) sets events in motion which not only save Pierre Morrel's reputation and honor but also his life. It is revealed that on his deathbed he realized his savior was Dantès.
* Maximilien Morrel (Maximilian in some English translations) — He is the son of Edmond's employer, Pierre Morrel, a captain in the Spahi regiment of the Army stationed in Algiers and an Officer of the Legion of Honor. After Edmond's escape and the Count of Monte Cristo's debut in Paris, Maximilien becomes a very good friend to the Count of Monte Cristo, yet still manages to unknowingly force the Count to change many of his plans, partly by falling in love with Valentine de Villefort.
* Julie Herbault — Daughter of Edmond's patron, Pierre Morrel, she marries Emmanuel Herbault.
* Emmanuel Herbault — Julie Herbault's husband; he had previously worked in Pierre Morrel's shipping firm and is the brother-in-law of Maximilien Morrel and son-in-law of Pierre Morrel.
Other important characters
* Gaspard Caderousse — A tailor and originally a neighbour and friend of Dantès, he witnesses while drunk the writing by Danglars of the denunciation of Dantès. After Dantès is arrested, he is too cowardly to come forward with the truth. Caderousse is somewhat different from the other members of the conspiracy in that it is what he does not do, rather than what he actually plans, that leads to Dantès' arrest. He moves out of town, becomes an innkeeper, falls on hard times, and supplements his income by fencing stolen goods from Bertuccio. After his escape from prison, Dantès (and the reader) first learn the fates of many of the characters from Caderousse. Unlike the other members of the conspiracy, Monte Cristo offers Caderousse more than one chance to redeem himself, but the latter's greed proves his undoing, and he becomes in turn a murderer, a thief and a blackmailer. He is eventually murdered by Benedetto.
* Louis Dantès — Edmond's father. After his son's imprisonment and believing Edmond dead, he eventually starves himself to death.
* Baron Franz d'Épinay — A friend of Albert de Morcerf, he is the first fiancé of Valentine de Villefort. Monsieur Noirtier de Villefort killed Franz's father General d'Épinay in a lawful duel after unsuccessfully trying to convince him to support plans to return Napoleon to power, but it was assumed by the public that the general was assassinated; Franz only learns the truth when Noirtier reveals it to stop Franz from marrying Valentine.
* Lucien Debray — Secretary to the Minister of the Interior. A friend of Albert de Morcerf, and a lover of Madame Danglars, to whom he funnels insider information regarding investments.
* Beauchamp — A leading journalist and friend of Albert de Morcerf (son of Fernand Mondego, the self-styled "Count de Morcerf"), he travels to Yannina to confirm the story about Fernand's background that leads to public embarrassment and Fernand's suicide.
* Raoul, Baron de Château-Renaud — A member of a very ancient and noble family and another friend of Albert de Morcerf. Maximilien Morrel saved Renaud's life in Algeria.
* Louise d'Armilly — Eugénie Danglars' music instructor, actually her closest friend, but not allowed to be seen in public with Eugénie because of the possibility of Louise some day becoming a professional artist in a theater setting. Eugénie and Louise run off together.
* Monsieur de Boville — originally an inspector of prisons (he actually meets Dantès in the Château d'If), he is later promoted to a senior rank of the Paris police detective force, where he does some investigating of the Count of Monte Cristo at Villefort's orders. By the close of the book, he has become a receiver-general of funds for the hospitals.
* Barrois — Old, trusted servant of Monsieur de Noirtier, dies accidentally after drinking poisoned lemonade from a decanter brought to Noirtier, and from which Noirtier had drunk a little. The poison was probably brucine. Having used brucine as medication for paralysis, Noirtier was not affected.
* Monsieur d'Avrigny — Family doctor treating the Villefort family, he alerts Villefort when he suspects poisoning. He suspects Valentine until she becomes a victim herself. Very discreet, he is willing to keep the secret as long as Villefort solves the problem, even secretly and informally, or even illegally (for instance, by locking up or poisoning the suspect). However, he threatens to reveal the secret if Villefort fails to take action.
* Major (also Marquis) Bartolomeo Cavalcanti — Old man paid by Monte Cristo to play the role of Prince Andrea Cavalcanti's father. He is not "a worthy patrician of Lucca" but a man who plays regularly at the gaming table of the baths of Lucca.
Publication
The Count of Monte Cristo was originally published in the Journal des Débats in eighteen parts. Publication ran from August 28, 1844 through to January 15, 1846. It was first published in Paris by Pétion in 18 volumes (1844-5). Complete versions of the novel in the original French were published throughout the nineteenth century.
The most common English translation was originally published in 1846 by Chapman and Hall. Most unabridged English editions of the novel, including the Modern Library and Oxford World's Classics editions, use this translation, although Penguin Classics published a new translation by Robin Buss in 1996. Buss' translation updated the language, is more accessible to modern readers, and restored content that was modified in the 1846 translation due to Victorian English social restrictions (for example, references to Eugénie's lesbian traits and behavior) to Dumas' actual publication. Other English translations of the unabridged work exist, but are rarely seen in print and most borrow from the 1846 anonymous translation.
《 jī dū shān bó jué》 - píng jià
《 jī dū shān bó jué》 de zuò zhě shì fǎ guó zuò jiā dà zhòng mǎ， gù shì qíng jié diē dàng qǐ fú， yū huí qū zhé， cóng zhōng yòu yǎn huà chū ruò gān cì yào qíng jié， xiǎo chāqǔ jǐn còu jīng cǎi， què bù xuān bīn duó zhù； qíng jié lí qí què bù wéi fǎn shēng huó zhēn shí。 xiǎo shuō kāi juàn jiù yǐn chū jǐ gè zhù yào rén wù， qián miàn 1/4 xiě zhù rén gōng bèi xiàn hài de jīng guò， hòu miàn 3/4 xiě rú hé fù chóu， mài luò qīng chǔ， fù chóu de 3 tiáo xiàn suǒ jiāo chā 'ér bù líng luàn， bǎo chí yī dìng de dú lì xìng zhī hòu cái huì hé zài yī qǐ。 yīn cǐ，《 jī dù shān bó jué》 bèi gōng rèn wéi tōng sú xiǎo shuō zhōng de diǎn fàn。 zhè bù xiǎo shuō chū bǎn hòu， hěn kuài jiù yíng dé liǎo guǎng dà dú zhě de qīng lái， bèi fān yì chéng jǐ shí zhǒng wén zì chū bǎn， zài fǎ guó hé měi guó duō cì bèi pāi chéng diàn yǐng。
zì xiǎo shuō wèn shì yǐ lái zuò zhě de rén shēng zhé xué yī zhí wéi shì rén suǒ jīn jīn lè dào。
qí zhōng zuì zhù míng de jù zǐ chū xiàn zài xiǎo shuō de zuì hòu yī zhāng：
shì shàng méi yòu xìng fú hé bù xìng， yòu de zhǐ shì jìng kuàng de bǐ jiào， wéi yòu jīng lì kǔ nán de rén cái néng gǎn shòu dào wú shàng de xìng fú。 bì xū jīng lì guò sǐ wáng cái néng gǎn shòu dào shēng de huān lè。 huó xià qù bìng qiě shēng huó měi mǎn， wǒ xīn líng zhēn shì de hái zǐ men。 yǒng yuǎn bù yào wàng jì， zhí zhì shàng dì xiàng rén jiē shì chū wèi lái zhī rì， rén lèi quán bù zhì huì jiù bāo hán zài liǎng gè cí zhōng： děng dài hé xī wàng。
The story takes place in France, Italy, islands in the Mediterranean and the Levant during the historical events of 1815–1838 (from just before the Hundred Days through to the reign of Louis-Philippe of France). The historical setting is a fundamental element of the book. It is primarily concerned with themes of hope, justice, vengeance, mercy, forgiveness and death, and is told in the style of an adventure story.
Background to the plot
Dumas has himself indicated that he had the idea for the revenge in The Count of Monte Cristo from a story which he had found in a book compiled by Jacques Peuchet, a French police archivist and published in 1838, after the death of the author. Dumas included this essay in one of the editions from 1846. Peuchet related the tale of a shoemaker named Pierre Picaud, who was living in Nîmes in 1807. Picaud had been engaged to marry a rich woman, but three jealous friends falsely accused him of being a spy for England. He was imprisoned for seven years. During his imprisonment a dying fellow prisoner bequeathed him a treasure hidden in Milan. Picaud was released in 1814. He took possession of the treasure and returned under another name to Paris. Picaud spent ten years plotting his successful revenge against his former friends. In another of the "True Stories" Peuchet relates the tale of a terrible affair of poisoning in a family. This story, also quoted in the Pleiade edition, has obviously served as model for the chapter of the murders inside the Villefort family. The introduction to the Pleiade edition mentions other sources from real life: the abbé Faria really existed and died in 1819 after a life with much resemblance to that of the Faria in the novel. As for Dantès, his fate is quite different from his model in Peuchet's manuscript, since the latter is murdered by the "Caderousse" of the plot. But Dantès has "alter egos" in two other works of Dumas: First in "Pauline" from 1838, then, more significantly, in "Georges" from 1843 where a young man with black ancestry is preparing a revenge against white people who had humiliated him.
Historical background
The success of Monte Cristo coincides with that of France's Second Empire and besides the description of the return of Napoleon I in 1815 Dumas hints at least once to the events: the governor at the Château d'If is promoted to a position at the castle of Ham. The attitude of Dumas towards "bonapartisme" was extremely complicated and involved. This conflict dates back to his father, who was a coloured man, borne of a slave and who became a famous general during the French Revolution. When new racist laws were applied in 1802 the general was dismissed from the army and he was profoundly bitter towards Napoleon when he died in 1806. An event in 1840 renewed the patriotic support for the Bonaparte family in the population: the ashes of Napoleon I were brought to France and became object of veneration in the church of Les Invalides.
In "Causeries" from 1860, Dumas prints a short paper on the genesis of Monte-Cristo. This essay, called "État civil du "Comte de Monte-Cristo"" is included in the Pléiade edition (Paris, 1981) as an "annexe". It appears that Dumas had close and intimate contacts with members of the Bonaparte family while living in Florence in 1841. In a small boat he sailed around the island of Monte-Cristo accompanied by one of the young princes – a cousin to he who was to be emperor of France ten years later. During this trip he promised the prince that he would write a novel with the island's name as title. At this moment the future emperor was imprisoned at the citadel of Ham – a name that is mentioned in the novel. Dumas did visit him there, but he does not mention it in "Etat civil..." Louis Napoleon was imprisoned for life, but he fled in disguise. This happened in 1846 while Dumas's novel was already a gigantic success. Just as Dantès, Louis Napoleon reappeared in Paris as a powerful and enigmatic man of the world. In 1848, however, Dumas did not vote for Louis Napoleon, but the novel may have contributed – against the will of the writer – to the victory of the future Napoleon III.
A chronology of The Count of Monte Cristo and Bonapartism
Dumas grandfather:
1793: Thomas-Alexandre Dumas is promoted to the rank of general in the army of the First French Republic.
1794: He disapproves of the revolutionary terror in Western France.
1795-97: He becomes famous. Fights under Napoleon.
1802: Black officers are dismissed from the army. The Empire reestablishes slavery.
1802: Birth of his son, Alexandre Dumas père.
1806: Th. A. Dumas dies, still bitter towards the injustice of the Empire.
Dumas father:
1832: The only son of Napoleon I dies.
1836: A. Dumas is already a famous writer.
1836: First putsch by Louis Napoleon, aged 28. Fails completely.
1840: June. A law is passed to bring the ashes of Napoleon I to France.
1840: August. Second putsch of Louis Napoleon. He is imprisoned for life and becomes known as the candidate for the imperial succession.
1841: Dumas lives in Florence and becomes acquainted with King Jérôme and his son, Napoléon.
1841-44: The novel is conceived and written.
1846: The novel is a European bestseller.
1846: Louis Napoleon escapes from his prison.
1848: French Second Republic. Louis Napoleon is elected its first president but Dumas does not vote for him.
1857: Dumas publishes État civil du Comte de Monte-Cristo
Plot summary
Edmond Dantès
Edmond Dantès, a young and successful merchant sailor recently granted his own command by his dying captain Leclère, returns to Marseille to marry his fiancée Mercédès. Leclère, a supporter of the exiled Napoléon I, charges Dantès on his deathbed to deliver two objects: a package to Maréchal Bertrand (who had been exiled with Napoleon Bonaparte to the isle of Elba), and a letter from Elba to an unknown man in Paris. Subsequently, an anonymous letter accuses Dantès of being a Bonapartist traitor. The letter is later revealed to have been written by Mercédès' cousin Fernand Mondego and Danglars, Dantès' ship's supercargo. Villefort, the deputy crown prosecutor in Marseille, assumes the duty of investigating the matter. Villefort is normally considered a just man, but on discovering that the recipient of the letter from Elba is his Bonapartist father, he ultimately chooses to save his political career and condemns Dantès without trial to life imprisonment and protects his father by destroying the incriminating letter.
During his fourteen years imprisonment in the Château d'If, Edmond is visited in his cell by the Abbé Faria, a priest and fellow prisoner trying to tunnel his way to freedom. Faria had been imprisoned for proposing a united Italy. In the Chateau d'If, he was known as "The Mad Priest", claiming to be in possession of a massive treasure, and offering to reward the guards handsomely, should they release him. Faria provides Dantès with education in subjects including languages, history, economics, philosophy, mathematics, chemistry and the manners of political society. The priest, ill from a form of catalepsy and knowing that he will soon die, confides in Dantès the location of a treasure hoard on the Italian islet of Monte Cristo. After Faria's death the following year, Dantès escapes and is rescued by a smuggling ship. After several months of working with the smugglers, he gets the opportunity to go to Monte Cristo for a goods exchange. Dantès fakes an injury and convinces the smugglers to temporarily leave him on Monte Cristo. He then makes his way to the hiding place of the treasure. He returns to Marseilles, where he learns that his father has died in poverty. He buys himself a yacht and hides the rest of the treasure on board. With his new found wealth and education, Dantès buys the island of Monte Cristo and the title of Count from the Tuscan Government.
Returning to Marseille, Dantès puts into action his plans for revenge. Traveling in disguise as the Abbé Busoni, Edmond first meets Caderousse, whose intervention might have saved Dantès from imprisonment. Now living in poverty, Caderousse believes his current state is punishment by God for his jealousy and cowardice. Dantès learns from Caderousse how his other enemies have all become wealthy and prosperous since Dantès' betrayal. Edmond gives Caderousse a diamond that can be either a chance to redeem himself, or a trap that will lead to his ruin. Caderousse murders the jeweler to whom he sold the diamond and is sentenced to life in the prison galleys. Dantès (using another disguise, this time as the English Lord Wilmore) frees Caderousse and gives him another chance at redemption. Caderousse does not take it, and becomes a career criminal.
Learning that his old employer Morrel is on the verge of bankruptcy and disgrace after his ships have been lost at sea, Dantès (in the guise of a senior clerk of the banking firm of Thomson and French of Rome) buys all of Morrel's outstanding debts and gives Morrel an extension of three months to fulfill his obligations. At the end of the three months and with no way to repay his debts, Morrel is about to commit suicide when he learns that all of his debts have been mysteriously paid and that one of his ships has returned with a full cargo (the ship had been secretly rebuilt and laden by Dantès).
The Count of Monte Cristo
The story then moves forward nine years. Dantès debuts in public as the Count of Monte Cristo, a mysterious and fabulously rich aristocrat. He surfaces first in Rome, where he becomes acquainted with the Baron Franz d'Épinay, a young aristocrat, and Viscount Albert de Morcerf, Mercédès's and Fernand's son. He later rescues Albert from Italian bandits. Dantès subsequently moves to Paris, and with Albert de Morcerf's introduction, becomes the sensation of the city. Due to his knowledge and rhetorical power, even his enemies - who do not recognize him as Edmond Dantès - find him charming, and because of his status they all desire his friendship.
Monte Cristo meets Danglars, who has become a wealthy banker. Monte Cristo dazzles the crass Danglars with his seemingly endless wealth, eventually persuading him to extend him a 6,000,000 francs credit, and withdraws nine hundred thousand. Under the terms of the arrangement, Monte Cristo can demand access to the remainder at any time. The Count manipulates the bond market, through a false telegraph signal, and quickly destroys a large portion of Danglars' fortune, and the rest of it begins to rapidly disappear through mysterious bankruptcies, suspensions of payment, and more bad luck on the Stock Exchange.
Monte Cristo threatens Villefort with knowledge of his past affair with Madame Danglars, which produced a son. Believing the child to be stillborn, Villefort had buried the child. The boy was rescued and raised in Corsica by his enemy, Bertuccio (now Monte Cristo's servant), who gave the child the name "Benedetto". As an adult, Benedetto becomes a career criminal who is sentenced to the galleys with Caderousse, but after being freed by "Lord Wilmore", takes the identity of "Viscount Andrea Cavalcanti" (sponsored by the Count) and cons Danglars into betrothing his daughter Eugénie to him. Caderousse blackmails Andrea, threatening to reveal his past.
Cornered by "Abbé Busoni" while attempting to rob Monte Cristo's house, Caderousse begs to be given another chance, but Dantès grimly notes that the last two times he did so, Caderousse did not change. He forces Caderousse to write a letter to Danglars exposing Viscount Cavalcanti as an impostor and allows Caderousse to leave the house, but the moment Caderousse leaves the estate, he is stabbed in the back by Andrea. Caderousse manages to dictate and sign a deathbed statement identifying his killer, and Monte Cristo reveals his true identity to Caderousse moments before Caderousse dies.
Ali Pasha, the ruler of Yannina (in French, Janina), was betrayed to the Turks by Fernand. After his death, his wife Vasiliki and his daughter Haydée were sold into slavery by Fernand; subsequently, Haydée was located and rescued by Dantès and becomes the Count's ward. The Count manipulates Danglars into researching the event, which is published in a newspaper. As a result, Fernand is brought to trial for his crimes. Haydée testifies against him, and Fernand is disgraced.
Mercédès, still as attractive as before, alone recognizes Monte Cristo as Dantès. When Albert blames Monte Cristo for his father's downfall and publicly challenges him to a duel, Mercédès goes secretly to Monte Cristo and begs him to spare her son. During this interview, she learns the entire truth of his arrest and imprisonment. She later reveals the truth to Albert, which causes Albert to make a public apology to Monte Cristo. Albert and Mercédès disown Fernand, who is also confronted with Dantès' true identity and subsequently commits suicide. The mother and son depart to build a new life free of disgrace. Albert enlists and goes to Africa as a soldier in order to rebuild his life and honor under a new name, and Mercédès begins a solitary life in Marseille.
Villefort's daughter by his first wife, Valentine, stands to inherit the entire fortune of her grandfather (Noirtier) and of her mother's parents (the Saint-Mérans), while his second wife, Héloïse, seeks the fortune for her small son Édouard. Monte Cristo is aware of Héloïse's intentions, and "innocently" introduces her to the technique of poison. Héloïse fatally poisons the Saint-Mérans, so that Valentine inherits their fortune. However, Valentine is disinherited by Noirtier in an attempt to prevent Valentine's impending marriage with Franz d'Épinay. The marriage is cancelled when d'Épinay learns that his father (believed assassinated by Bonapartists) was killed by Noirtier in a duel. Afterwards, Valentine is reinstated in Noirtier's will. After a failed attempt on Noirtier's life which instead claims the life of Noirtier's servant Barrois, Héloïse then targets Valentine so that Édouard will finally get the fortune. However, Valentine is the prime suspect in her father's eyes in the deaths of the Saint-Merans and Barrois.
After Monte Cristo learns that Morrel's son Maximilien is in love with Valentine de Villefort, he saves her by making it appear as though Héloïse's plan to poison Valentine has succeeded and that Valentine is dead. Villefort learns from Noirtier that Héloïse is the real murderer and confronts her, giving her the choice of a public execution or committing suicide by her own poison.
Fleeing after Caderousse's letter exposes him, Andrea gets as far as Compiègne before he is arrested and brought back to Paris, where he is prosecuted by Villefort. Andrea reveals that he is Villefort's son and was rescued after Villefort buried him alive. Villefort admits his guilt and flees the court. He rushes home to stop his wife's suicide but he is too late; she has poisoned her son as well. Dantès confronts Villefort, revealing his true identity, but this, combined with the shock of the trial's revelations and the death of both his wife and son, drives Villefort insane. Dantès tries to resuscitate Édouard but fails, and despairs that his revenge has gone too far. It is only after he revisits his cell in the Château d'If that Dantès is reassured that his cause is just and his conscience is clear, that he can fulfill his plan while being able to forgive both his enemies and himself.
After the Count's manipulation of the bond market, all that Danglars is left with is a tarnished reputation and five million francs he has been holding in deposit for the hospitals. The Count demands this sum to fulfill their credit agreement, and Danglars embezzles the hospital fund. Abandoning his wife, Danglars flees to Italy with the Count's receipt, hoping to live in Vienna in anonymous prosperity. However, while leaving Rome he is kidnapped by the Count's agent Luigi Vampa. Danglars is imprisoned the same way that Dantès was. Forced to pay exorbitant prices for food, Danglars eventually signs away all but 50,000 francs of the stolen five million (which Dantès anonymously returns to the hospitals). Nearly driven mad by his ordeal, Danglars finally repents his crimes. Dantès forgives Danglars and allows him to leave with his freedom and the money he has left.
Maximilien Morrel, believing Valentine to be dead, contemplates suicide after her funeral. Dantès reveals his true identity and explains that he rescued Morrel's father from bankruptcy, disgrace and suicide years earlier. He persuades Maximilien to delay his suicide for a month. On the island of Monte Cristo a month later, Dantès presents Valentine to Maximilien and reveals the true sequence of events.
Having found peace, Dantès leaves for an unknown destination to find comfort and possibly love with Haydée, who has declared her love for him.
Characters
There are a large number of characters in the book, and the importance of many of them is not immediately obvious. Furthermore, their fates are often so interwoven that their stories overlap significantly. The chart below shows the relationships between the many characters of the novel.
Character relationships in The Count of Monte Cristo
Edmond Dantès and his aliases
* Edmond Dantès (born 1796) — Dantès is initially a generally well-liked sailor who is inexperienced - but not in his profession - and seems to have everything going for him, including a beautiful fiancée (Mercédès) and an impending promotion to ship's captain. After his transformation into the Count of Monte Cristo, his original name is revealed to his main enemies only as each revenge is completed, often driving his already weakened victims into despair.
* Number 34 — Early in Dantès' stay in prison, the governor of the Château d'If is replaced. This governor does not feel it is worth his time to learn the names of all the prisoners, and instead chooses to refer to them by the numbers of their cells. Thus, Dantès is called Number 34 during his imprisonment.
* Chief Clerk of Thomson and French — Shortly after Edmond escapes and learns of Morrel's sorry state of affairs, he disguises himself as an English senior agent of the banking firm of Thomson and French, with whom Morrel deals, and in this form sees Morrel for the first time in fifteen years. Precise and formal, this persona is a phlegmatic, serious banking officer.
* Count of Monte Cristo — The persona that Edmond assumes when he escapes from his incarceration and while he carries out his dreadful vengeance. This persona is marked by a pale countenance and a smile which can be diabolical or angelic. Educated and mysterious, this alias is trusted in Paris and fascinates the people.
* Lord Wilmore — The English persona in which Dantès performs seemingly random acts of generosity. The Englishman is eccentric and refuses to speak French. This eccentric man, in his kindness, is almost the opposite of the Count of Monte Cristo and Dantès exploits this to persuade Villefort that Lord Wilmore is an enemy of Monte Cristo.
* Sinbad the Sailor — The persona that Edmond assumes when he saves the Morrel family. Edmond signs a letter to Mlle Julie using this persona, which was accompanied by a large diamond and a red satin purse. (Sinbad the sailor is the common English translation of the original French Simbad le marin.)
* Abbé Busoni — The persona that Edmond puts forth when he needs deep trust from others because the name itself demands respect via religious authority.
* Monsieur Zaccone — Dantès, in the guise of both Abbé Busoni and Lord Wilmore, told an investigator sent by Villefort that this was the Count of Monte Cristo's true name.
Dantès' allies
* Abbé Faria — Italian priest and sage; befriends Edmond while both are prisoners in the Château d'If, acts as a father for Edmond Dantès (as Dantès said once "I can have my revenge, thanks to you, my second father") and reveals the secret of the island of Monte Cristo to Edmond. Becomes the surrogate father of Edmond, while imprisoned, digging a tunnel to freedom he educates Edmond in languages, economics, and all the current sciences (including chemistry which comes to Dantès' aid greatly during his revenge plan) and is the figurative father of the Count of Monte Cristo. He dies from the third attack of catalepsy.
* Giovanni Bertuccio — The Count of Monte Cristo's steward and very loyal servant; in the Count's own words, Bertuccio "knows no impossibility" and is sure of never being dismissed from the Count's service because, as the Count states, he (the Count) will "never find anyone better." He had declared a vendetta against Monsieur de Villefort for Villefort's refusal to prosecute the murderer of Bertuccio's brother. Tracking Villefort to Auteuil, he stabs Villefort, leaving him to die, but by coincidence becomes involved in Villefort's personal life by rescuing his illegitimate newborn, later named Benedetto (Italian for blessed) by Bertuccio. Years later, he is jailed on suspicion of the murder of a jeweler, but is released when Caderousse is arrested and proved to have committed the crime, and "Abbé Busoni" gives him a recommendation for employment to Monte Cristo.
* Luigi Vampa — celebrated Italian bandit and fugitive; owes much to the Count of Monte Cristo, and is instrumental in many of the Count's plans. He enjoys reading classic historical works dealing with great military leaders.
* Peppino — Formerly a shepherd helping Luigi Vampa, he later becomes a bandit and full member of Vampa's gang. He is condemned to be executed by Roman authorities, but Monte Cristo secures his pardon from the Pope. His alias is Rocca Priori.
* Haydée (also transliterated as Haidée) — The daughter of Ali Pasha of Yannina, eventually bought by the Count of Monte Cristo from the Sultan Mahmoud. Even though she was purchased as a slave, Monte Cristo treats her with the utmost respect. She lives in seclusion by her own choice, but is usually very aware of everything that is happening outside. She usually goes to local operas accompanied by the Count. At the trial of the Count de Morcerf, she provides the key evidence required to convict Fernand of treason and felony. She is deeply in love with the Count of Monte Cristo, and although he feels he is too old for her, he eventually reciprocates.
* Ali — Monte Cristo's Nubian slave, a mute (his tongue had been cut out as part of his punishment for intruding into the harem of the Bey of Tunis; his hands and head had also been scheduled to be cut off, but the Count bargained with the Bey for Ali's life). He is completely loyal and utterly devoted to the Count. Ali is also a master of his horses.
* Baptistin — Monte Cristo's valet-de-chambre. Although only in Monte Cristo's service for little more than a year, he has become the number three man in the Count's household and seems to have proven himself completely trustworthy and loyal, except for some financial irregularities that some employers, and certainly his own, were considering practically normal for a servant (i.e., when buying cosmetics or other supplies for his employer, he was inflating the price and pocketing the difference). After his probationary year in Monte Cristo's service expires, the Count informs Baptistin that he "suits" him, but warns him that the financial irregularities are to cease immediately.
Morcerf family
* Mercédès Mondego — (née: Herrera) Edmond's fiancée at the beginning until their planned marriage is interrupted by Edmond's imprisonment. Eighteen months later, she marries cousin Fernand Mondego (while still pledging eternal love to Dantès) because she believes Edmond is dead and feels alone in the world. Thus, she lives as Mme. the Countess de Morcerf in Paris and bears a son. Dantès's release and reappearance as the Count complicates matters as her love for him is evident. But, at the end of the story, Dantès comes to realize that it is Haydée he loves. He has a respect for Mercédès, but leaves her to live her life in Marseille in the house in which he lived as a young man (which he had bought).
* Fernand Mondego — Later known as the Count de Morcerf. A Catalan and Edmond's rival and suitor for Mercédès; will do anything to get her, including bearing false witness against Edmond. He is overall a representation of evil, as he lies and betrays throughout his military career for his own personal gain. When confronted by his nefarious acts, disgraced in public and abandoned by his wife and son, he commits suicide.
* Albert de Morcerf — Son of Mercédès and the Count de Morcerf. Is befriended by Monte Cristo in Rome; viewed by Monte Cristo as the son that should have been his with Mercédès, but does not have as strong a filial bond with him as does Maximilien Morrel. At the end, he realizes his father's crimes and, along with his mother Mercédès, abandons him and his name.
Danglars family
* Baron Danglars — Initially the supercargo (the owner's agent) on the same ship on which Dantès served as first mate; he longs to be wealthy and powerful and becomes jealous of Dantès for his favor with Pierre Morrel. He also developed a grudge against Dantès, with whom he has had some arguments regarding the accuracy of his accounting. The source of his wealth is not clear but is possibly due to unscrupulous financial dealings while in the French army and has reportedly been multiplied by speculation and marriage. His intelligence is only evident where money is concerned; otherwise he is a member of the nouveau riche with only superficial good taste (he cannot even tell the difference between original paintings and copies) and no true family feelings. Although arguably guiltier than Morcerf, Caderousse and Villefort, having written the denunciation letter, he is the only one whom Dantès forgives besides Caderousse,who died immediately afterward, and is partially spared, ending up a fugitive with barely enough money to support himself, but alive and with his sanity.
* Madame Danglars — Full name is Hermine Danglars (formerly Baroness Hermine de Nargonne during a previous marriage), née de Servieux. Was independently wealthy before marrying Danglars. With help and private information from her close friend and lover Ministerial Secretary Lucien Debray, Madame Danglars secretly invests money and is able to amass over a million francs for her own disposal. During her marriage to the Baron de Nargonne, she had an affair with Gérard de Villefort, with whom she had an illegitimate son (See Benedetto).
* Eugénie Danglars — The daughter of Danglars, engaged at first to Albert de Morcerf and later to "Andrea Cavalcanti" but who would rather stay unwed, living "an independent and unfettered life" as an artist. She dresses as a man and runs away with another girl, Louise d'Armilly after the collapse of her intended marriage to Andrea Cavalcanti; these connotations were considered scandalous. During their flight from Paris, she and Louise, traveling as brother and sister (Eugénie had disguised herself in men's clothing), stopping at an inn at Compiègne requested a room with two beds, yet Benedetto found them in bed together.
Villefort family
* Gérard de Villefort — A royal prosecutor who has even denounced his own father (Noirtier) in order to protect his own career. He is responsible for imprisoning Edmond Dantès to protect his political aspirations. After his attempted infanticide is publicly revealed and his second wife kills herself and their son, he loses his sanity.
* Renée de Villefort, née de Saint-Méran — Gérard de Villefort's first wife, mother of Valentine de Villefort.
* Monsieur le Marquis de Saint-Méran and Madame la Marquise de Saint-Méran — Renée's parents and Valentine's maternal grandparents. Both poisoned by Valentine's stepmother in order for Valentine to inherit their wealth which, through a planned series of further deaths in the family (Valentine's and her grandfather's), will be inherited by Valentine's half brother.
* Valentine de Villefort — The daughter of Gérard de Villefort and his first wife, Renée (née de Saint-Méran). She falls in love with Maximilien Morrel, is engaged to Baron Franz d'Épinay, is almost poisoned by her stepmother, saved once by her grandfather Noirtier, and is finally saved by Dantès. Valentine is the quintessential (French, nineteenth century) female: beautiful, docile, and loving. The only person she feels that she can confide in is her invalid grandfather.
* Monsieur Noirtier de Villefort — The father of Gérard de Villefort and grandfather of Valentine and Édouard (and, without knowing it, of Benedetto as well). After suffering an apoplectic stroke, Noirtier becomes mute and a paralytic, but can communicate with Valentine, Gérard and his servant Barrois through use of his eyelids and eyes. Although utterly dependent on others, he helps to save Valentine from the poison attempts of her stepmother and sabotages her marriage arrangement to Baron Franz d'Épinay. An ardent Jacobin Revolutionary turned Bonapartist, he is revealed to be the President of a club of Bonapartists conspiring to overthrow the restored monarchy and re-establish Napoleon as Emperor. Gérard de Villefort had realized that Edmond intended to fulfill his dying captain's last wish by conveying a letter from the imprisoned Napoleon on Elba to Noirtier in Paris, and therefore imprisoned Edmond (who knew nothing about the family connection) in order to hide the fact that his father was a conspirator, which might have hindered Gérard's advancement.
* Héloïse de Villefort — The murderous second wife of Villefort, who is motivated to protect and nurture her only son and ensure his inheritance. She becomes a murdereress with the assistance of Monte Cristo who discreetly and with purposeful indirectness suggests which poison to use, puts the poison into her possession (for "medicinal purposes”), and gives her the technical know-how and the philosophical outlook to commit murder (her motivation is clearly presented as that of a mother whose love for her son has taken precedence over her morals and reason). Villefort threatens to have her arrested and executed unless she kills herself and she does so before her husband, having changed his mind, gets a chance to stop her.
* Édouard de Villefort — the only legitimate son of Villefort. A very intelligent but extremely spoiled and selfish little boy who is unfortunately swept up in his mother's greed (his mother kills him before committing suicide). (His name is sometimes translated as Edward de Villefort.) The fact that he was an innocent victim makes Dantès feel that he went too far in his revenge and explains why he treats Danglars more leniently.
* Benedetto — The illegitimate son of de Villefort and Hermine de Nargonne (now Baroness Hermine Danglars); born in Auteuil, raised by Bertuccio (later Monte Cristo's steward) and his sister-in-law, Assunta in the little village of Rogliano, at the extremity of Cape Corso. Murderer and thief. Is helped to escape from a prison galley and travels to Paris to become "Andrea Cavalcanti".
Morrel family
* Pierre Morrel — Edmond Dantès's patron and owner of the major Marseille shipping firm of Morrel & Son. He is a very honest and shrewd businessman and is also very fond of Edmond and eager to advance his interests. After Edmond is arrested, he tries his hardest to help Edmond and is hopeful of his release when Napoleon is restored to power, but because of his sympathies for the Bonapartist cause, he is forced to back down and abandon all hope after the Hundred Days and second Restoration of the monarchy. Between 1825 and 1830, his firm undergoes critical financial reverses due to the loss of all of his ships at sea, and he is at the point of bankruptcy and suicide when Monte Cristo (in the guise of an English clerk from the financial firm of Thompson and French) sets events in motion which not only save Pierre Morrel's reputation and honor but also his life. It is revealed that on his deathbed he realized his savior was Dantès.
* Maximilien Morrel (Maximilian in some English translations) — He is the son of Edmond's employer, Pierre Morrel, a captain in the Spahi regiment of the Army stationed in Algiers and an Officer of the Legion of Honor. After Edmond's escape and the Count of Monte Cristo's debut in Paris, Maximilien becomes a very good friend to the Count of Monte Cristo, yet still manages to unknowingly force the Count to change many of his plans, partly by falling in love with Valentine de Villefort.
* Julie Herbault — Daughter of Edmond's patron, Pierre Morrel, she marries Emmanuel Herbault.
* Emmanuel Herbault — Julie Herbault's husband; he had previously worked in Pierre Morrel's shipping firm and is the brother-in-law of Maximilien Morrel and son-in-law of Pierre Morrel.
Other important characters
* Gaspard Caderousse — A tailor and originally a neighbour and friend of Dantès, he witnesses while drunk the writing by Danglars of the denunciation of Dantès. After Dantès is arrested, he is too cowardly to come forward with the truth. Caderousse is somewhat different from the other members of the conspiracy in that it is what he does not do, rather than what he actually plans, that leads to Dantès' arrest. He moves out of town, becomes an innkeeper, falls on hard times, and supplements his income by fencing stolen goods from Bertuccio. After his escape from prison, Dantès (and the reader) first learn the fates of many of the characters from Caderousse. Unlike the other members of the conspiracy, Monte Cristo offers Caderousse more than one chance to redeem himself, but the latter's greed proves his undoing, and he becomes in turn a murderer, a thief and a blackmailer. He is eventually murdered by Benedetto.
* Louis Dantès — Edmond's father. After his son's imprisonment and believing Edmond dead, he eventually starves himself to death.
* Baron Franz d'Épinay — A friend of Albert de Morcerf, he is the first fiancé of Valentine de Villefort. Monsieur Noirtier de Villefort killed Franz's father General d'Épinay in a lawful duel after unsuccessfully trying to convince him to support plans to return Napoleon to power, but it was assumed by the public that the general was assassinated; Franz only learns the truth when Noirtier reveals it to stop Franz from marrying Valentine.
* Lucien Debray — Secretary to the Minister of the Interior. A friend of Albert de Morcerf, and a lover of Madame Danglars, to whom he funnels insider information regarding investments.
* Beauchamp — A leading journalist and friend of Albert de Morcerf (son of Fernand Mondego, the self-styled "Count de Morcerf"), he travels to Yannina to confirm the story about Fernand's background that leads to public embarrassment and Fernand's suicide.
* Raoul, Baron de Château-Renaud — A member of a very ancient and noble family and another friend of Albert de Morcerf. Maximilien Morrel saved Renaud's life in Algeria.
* Louise d'Armilly — Eugénie Danglars' music instructor, actually her closest friend, but not allowed to be seen in public with Eugénie because of the possibility of Louise some day becoming a professional artist in a theater setting. Eugénie and Louise run off together.
* Monsieur de Boville — originally an inspector of prisons (he actually meets Dantès in the Château d'If), he is later promoted to a senior rank of the Paris police detective force, where he does some investigating of the Count of Monte Cristo at Villefort's orders. By the close of the book, he has become a receiver-general of funds for the hospitals.
* Barrois — Old, trusted servant of Monsieur de Noirtier, dies accidentally after drinking poisoned lemonade from a decanter brought to Noirtier, and from which Noirtier had drunk a little. The poison was probably brucine. Having used brucine as medication for paralysis, Noirtier was not affected.
* Monsieur d'Avrigny — Family doctor treating the Villefort family, he alerts Villefort when he suspects poisoning. He suspects Valentine until she becomes a victim herself. Very discreet, he is willing to keep the secret as long as Villefort solves the problem, even secretly and informally, or even illegally (for instance, by locking up or poisoning the suspect). However, he threatens to reveal the secret if Villefort fails to take action.
* Major (also Marquis) Bartolomeo Cavalcanti — Old man paid by Monte Cristo to play the role of Prince Andrea Cavalcanti's father. He is not "a worthy patrician of Lucca" but a man who plays regularly at the gaming table of the baths of Lucca.
Publication
The Count of Monte Cristo was originally published in the Journal des Débats in eighteen parts. Publication ran from August 28, 1844 through to January 15, 1846. It was first published in Paris by Pétion in 18 volumes (1844-5). Complete versions of the novel in the original French were published throughout the nineteenth century.
The most common English translation was originally published in 1846 by Chapman and Hall. Most unabridged English editions of the novel, including the Modern Library and Oxford World's Classics editions, use this translation, although Penguin Classics published a new translation by Robin Buss in 1996. Buss' translation updated the language, is more accessible to modern readers, and restored content that was modified in the 1846 translation due to Victorian English social restrictions (for example, references to Eugénie's lesbian traits and behavior) to Dumas' actual publication. Other English translations of the unabridged work exist, but are rarely seen in print and most borrow from the 1846 anonymous translation.
běn piàn shì gēn jù měi guó míng zhù méi 'ěr wéi 'ěr de tóng míng xiǎo shuō gǎi biān， bèi duō cì bān shàng píng mù， qí zhōng zuì chū míng de shì 1956 nián gé lǐ gāo lì . pài kè zhù yǎn de bǎn běn liǎo。 zhè gè bǎn běn shì 1998 nián fān pāi de diàn shì diàn yǐng bǎn běn， nián mài de gé lǐ gāo lì . pài kè chū yǎn qí zhōng yī gè juésè。
bái jīng jì MobyDic) shì shì shàng wěi dà de xiǎo shuō zhī yī。 quán shū de jiāo diǎn jí zhōng yú nán tài píng yáng yī tiáo míng jiào mò bǐ · dí kè de bái jīng， yǐ jí bǔ jīng chuán pí kuò dé (Pequod) hào de chuán cháng 'ā hā (Ahab) rú hé duì tā yòu bù gòng dài tiān de chóu hèn。 ā hā zài yī cì háng xíng zhōng bèi mò bǐ · dí kè yǎo diào yī tiáo tuǐ， lì zhì bào chóu， zhǐ huī pí kuò dé hào huán háng quán qiú zhuī zōng， zhōng yú fā xiàn liǎo tā。 jīng guò sān tiān fàng xià xiǎo tǐng jǐn zhuī。 suī rán cì zhōng liǎo zhè tiáo bái jīng， dàn tā shí fēn wán qiáng jiǎo huá， yǎo suì liǎo xiǎo tǐng， yě zhuàng chén liǎo dà chuán。 tā tuō zhe bǔ jīng chuán yóu kāi shí， shéng zǐ tào zhù 'ā hā， bǎ tā jiǎo sǐ liǎo。 quán chuán rén jìn jiē miè dǐng。 zhǐ yòu yī gè shuǐ shǒu jiè zhe yóu guān cái gǎi zhì de jiù shēng fú zǐ 'ér táode xìng mìng。 zhěng gè gù shì yǐ zhè gè shuǐ shǒu yī xī méi 'ěr (Ishmael) zì shù de fāng shì zhǎn kāi。
《 bái jīng jì》 zhōng de xùn xī
bái jīng jì bái jīng jì mì mǎ xǔ duō rén fā xiàn， MichaelDrosnin yòng de fāng fǎ hé děng jù zì mǔ xù liè nà piān lùn wén de fāng fǎ xiāng bǐ， xiāng dāng bù yán mì。 bù shǎo rén yòng xiāng tóng de fāng fǎ， hěn róng yì fā xiàn dào chù dū cáng yòu mì mǎ， jiù rú yīng wáng qīn dìng bǎn de《 shèng jīng》 lǐ， kě yǐ zhǎo dào UFO yī yàng， zhè xià zǐ zhěng gè huái yí dū chū lái liǎo。 MichaelDrosnin miàn duì zhè xiē pī píng， zài《 xīn wén zhōu kān》 de yī cì fǎng wèn lǐ， tā shuō： “ jiǎ rú wǒ de pī píng zhě， néng gòu zài《 bái jīng jì》 lǐ， zhǎo dào mǒu wèi zǒng lǐ bèi cì shā de mì mǎ xùn xī， nà me wǒ jiù huì xiāng xìn tā men。 ” zhè duì pī píng zhě lái shuō， shì gè tiǎo zhàn！ ér zhè chǎng zhàn zhēng dào zhè gè shí hòu， yǐ jīng shì xiāng dāng bái rè huà liǎo。
ào zhōu guó lì dà xué de yī wèi jì suàn jī jiào shòu BrendanMcKay， jiù jiē shòu zhè gè tiǎo zhàn， zhǎo dào liǎo dǐ xià yìn dù zǒng lǐ gān dì bèi cì de“ xùn xī”， bìng qiě bǎ tā fàng zài zì jǐ de wǎng zhàn shàng。
zhí xíng de IGANDHI， dì yī gè I shì tā de míng zì Indira de suō xiě， àn zhù shì gān dì (Gandhi)。 àn zhù héng xíng shì thebloodydeed。 sǐ wáng de qì yuē， yù shì zhù gān dì shì huì bèi shā de。 shì shí shàng， mǎ kǎi bù dàn zhǎo dào yī wèi zǒng lǐ， tā hái zài《 bái jīng jì》 zhǎo dào lín kěn、 lā bīn、 kěn ní dí… děng míng rén bèi cì shā de xùn xī， yòng de shì gēn MichaelDrosnin yī yàng de fāng fǎ。 zhè xià zǐ má fán liǎo， sì hū dào chù dū cáng yòu mì mǎ， shì bù shì shēng huó zhōu zāo dū bù mǎn tiān jī， děng zhe wǒ men yòng diàn nǎo qù jiě dú ní？ zhè wèi BrendanMcKay shì gè hěn yòu qù de rén， tā shuō， jī dū jiào tú yě yī zhí zài xún zhǎo mì mǎ， bù guò tā men xiǎng zhǎo de shì yòu guān yé sū jī dū jiàng lín de xùn xī； ér zhè huí tā yòng de shì《 dàn yǐ lǐ shū》， yīn wéi MichaelDrosnin zài《 shèng jīng mì mǎ》 zhōng tí dào zhè shì yī běn“ fēng yìn zhī shū”， yù gào zhù“ mí sài yà lái lín de rì zǐ”， ér yé sū xiàng láidōu bèi shì wéi shì mí sài yà de。 BrendanMcKay yǐ zhào wèi cí téng děng rén de fāng fǎ， kǎo lǜ liǎo yī xiē guān jiàn zì cí， xiàng sonofgod， qù jìn xíng fēn xī， jiēguǒ fā xiàn yé sū gēn sonofman jiào kào jìn。 zhè xià zǐ yé sū yóu“ shén zhī zǐ” biàn chéng“ rén zhī zǐ”， zhěng gè lùn zhàn yě gēn zhe biàn dé hùn dùn、 jú shì bù míng liǎo。
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.”
bái jīng jì MobyDic) shì shì shàng wěi dà de xiǎo shuō zhī yī。 quán shū de jiāo diǎn jí zhōng yú nán tài píng yáng yī tiáo míng jiào mò bǐ · dí kè de bái jīng， yǐ jí bǔ jīng chuán pí kuò dé (Pequod) hào de chuán cháng 'ā hā (Ahab) rú hé duì tā yòu bù gòng dài tiān de chóu hèn。 ā hā zài yī cì háng xíng zhōng bèi mò bǐ · dí kè yǎo diào yī tiáo tuǐ， lì zhì bào chóu， zhǐ huī pí kuò dé hào huán háng quán qiú zhuī zōng， zhōng yú fā xiàn liǎo tā。 jīng guò sān tiān fàng xià xiǎo tǐng jǐn zhuī。 suī rán cì zhōng liǎo zhè tiáo bái jīng， dàn tā shí fēn wán qiáng jiǎo huá， yǎo suì liǎo xiǎo tǐng， yě zhuàng chén liǎo dà chuán。 tā tuō zhe bǔ jīng chuán yóu kāi shí， shéng zǐ tào zhù 'ā hā， bǎ tā jiǎo sǐ liǎo。 quán chuán rén jìn jiē miè dǐng。 zhǐ yòu yī gè shuǐ shǒu jiè zhe yóu guān cái gǎi zhì de jiù shēng fú zǐ 'ér táode xìng mìng。 zhěng gè gù shì yǐ zhè gè shuǐ shǒu yī xī méi 'ěr (Ishmael) zì shù de fāng shì zhǎn kāi。
《 bái jīng jì》 zhōng de xùn xī
bái jīng jì bái jīng jì mì mǎ xǔ duō rén fā xiàn， MichaelDrosnin yòng de fāng fǎ hé děng jù zì mǔ xù liè nà piān lùn wén de fāng fǎ xiāng bǐ， xiāng dāng bù yán mì。 bù shǎo rén yòng xiāng tóng de fāng fǎ， hěn róng yì fā xiàn dào chù dū cáng yòu mì mǎ， jiù rú yīng wáng qīn dìng bǎn de《 shèng jīng》 lǐ， kě yǐ zhǎo dào UFO yī yàng， zhè xià zǐ zhěng gè huái yí dū chū lái liǎo。 MichaelDrosnin miàn duì zhè xiē pī píng， zài《 xīn wén zhōu kān》 de yī cì fǎng wèn lǐ， tā shuō： “ jiǎ rú wǒ de pī píng zhě， néng gòu zài《 bái jīng jì》 lǐ， zhǎo dào mǒu wèi zǒng lǐ bèi cì shā de mì mǎ xùn xī， nà me wǒ jiù huì xiāng xìn tā men。 ” zhè duì pī píng zhě lái shuō， shì gè tiǎo zhàn！ ér zhè chǎng zhàn zhēng dào zhè gè shí hòu， yǐ jīng shì xiāng dāng bái rè huà liǎo。
ào zhōu guó lì dà xué de yī wèi jì suàn jī jiào shòu BrendanMcKay， jiù jiē shòu zhè gè tiǎo zhàn， zhǎo dào liǎo dǐ xià yìn dù zǒng lǐ gān dì bèi cì de“ xùn xī”， bìng qiě bǎ tā fàng zài zì jǐ de wǎng zhàn shàng。
zhí xíng de IGANDHI， dì yī gè I shì tā de míng zì Indira de suō xiě， àn zhù shì gān dì (Gandhi)。 àn zhù héng xíng shì thebloodydeed。 sǐ wáng de qì yuē， yù shì zhù gān dì shì huì bèi shā de。 shì shí shàng， mǎ kǎi bù dàn zhǎo dào yī wèi zǒng lǐ， tā hái zài《 bái jīng jì》 zhǎo dào lín kěn、 lā bīn、 kěn ní dí… děng míng rén bèi cì shā de xùn xī， yòng de shì gēn MichaelDrosnin yī yàng de fāng fǎ。 zhè xià zǐ má fán liǎo， sì hū dào chù dū cáng yòu mì mǎ， shì bù shì shēng huó zhōu zāo dū bù mǎn tiān jī， děng zhe wǒ men yòng diàn nǎo qù jiě dú ní？ zhè wèi BrendanMcKay shì gè hěn yòu qù de rén， tā shuō， jī dū jiào tú yě yī zhí zài xún zhǎo mì mǎ， bù guò tā men xiǎng zhǎo de shì yòu guān yé sū jī dū jiàng lín de xùn xī； ér zhè huí tā yòng de shì《 dàn yǐ lǐ shū》， yīn wéi MichaelDrosnin zài《 shèng jīng mì mǎ》 zhōng tí dào zhè shì yī běn“ fēng yìn zhī shū”， yù gào zhù“ mí sài yà lái lín de rì zǐ”， ér yé sū xiàng láidōu bèi shì wéi shì mí sài yà de。 BrendanMcKay yǐ zhào wèi cí téng děng rén de fāng fǎ， kǎo lǜ liǎo yī xiē guān jiàn zì cí， xiàng sonofgod， qù jìn xíng fēn xī， jiēguǒ fā xiàn yé sū gēn sonofman jiào kào jìn。 zhè xià zǐ yé sū yóu“ shén zhī zǐ” biàn chéng“ rén zhī zǐ”， zhěng gè lùn zhàn yě gēn zhe biàn dé hùn dùn、 jú shì bù míng liǎo。
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.”
shì jiè dǐng jí dēng shān gāo shǒu 'ào sì ( yù mù hóng ) zhōng yú yào tiǎo zhàn zuì nán guān gāo fēng k2 liǎo。 yī tóng qián wǎng de dēng shān duì yuán jiān hǎo yǒu de shì běi zé（ shān běn tài láng）。 tā men jiē shòu liǎo lái zì dà xíng yùn dòng chǎng shāng ヤ シ ロ de dēng shān yòng jù de quán miàn zàn zhù， liǎng rén dēng shān zǔ jiāng dài biǎo rì běn tiǎo zhàn pān dēng k2 de
magicline
zài pān dēng k2 de tú zhōng， běi zé bāng mèi mèi ゆ か り ( chuī shí yī huì ) xiàng 'ào sì biǎo dá liǎo 'ài mù zhī qíng， yǔ cǐ tóng shí， běi zé yě zhì wèn liǎo 'ào sì duìヤシロ de bā dài shè cháng（ shí bǎn hào 'èr） de qī zǐ měi nà zǐ（ hè tián zhēn yóu） de gǎn jué。 jiù zài zhè pān dēng k2 de tú zhōng， liǎng rén tuī xīn zhì fù。 ér liú zài rì běn de bā dài hé měi nà zǐ duì k2 yě chōng mǎn liǎo xiá xiǎng。 yīn wéi zài chū fā qián， ào sì céng duì bā dài tiǎo míng：“ rú guǒ wǒ néng huó
zhe cóng k2 huí lái， jiù bǎ měi nà zǐ jiāo gěi wǒ”
zài pān dēng dǐng fēng de dì sì tiān， ào sì liǎng rén zhōng yú dào dá liǎo hǎi bá 8000 mǐ de magicline de“ z” xíng pān dēng qū。 yóu yú gāo kōng yǎng qì xī bó， èr rén de tǐ lì yǐ jiē jìn tòu zhī， dì 'èr tiān， dāng liǎng rén dào dá hào chēng“ sān rì yuè の ガ リ ー” de xiǎn jùn yán gōu shí， yī dǔ gāo 70 mǐ de bīng bì hào rán sǒng lì zài tā men miàn qián。 yóu yú wēn dù guò dī， wú fǎ gù dìng zhàng péng， wú xiàn duì jiǎng jī yě wú fǎ shǐ yòng， zhèng zài cǐ shí， yòu tū fā xuě bēng běi zé yīn cǐ jiǎo bù gǔ zhé。 yóu yú nà lǐ shì xuě bēng duō fā dì， ào sì mǎ shàng yòng huī fù gōng néng de wú xiàn duì jiǎng jī lián luò běn bù， bào gào zhōng zhǐ cǐ cì tàn xiǎn。 pān dēng k2 gào zhōng shī bài， jiē xià lái de wèn tí shì rú hé shēng hái。 ào sì xuǎn zé liǎo bì kāi xuě bēng duō fā dì， yǔ běi zé yī tóng pān dēng bīng bì， zài yóu pǔ tōng de shān lù xià shān de táo shēng cuò shī。 ào sì yòng jìn zuì hòu de lì qì， zài bīng bì shàng chuí xià shéng suǒ， bìng ràng běi zé xiān pān dēng， zì jǐ jǐn suí qí hòu， bù xìng de shì běi zé zhuì luò bīng bì。
běi zé de sǐ yǐn cáng liǎo hěn dà de mí tuán。 huí guó yǐ hòu， zhì zhī（ wǔ tián zhēn zhì） zuò wéiヤシロ gōng sī de fǎ rén， duì wài jiě shì shuō běi zé de sǐ shì yóu yú pān dēng de shū hū。 rán 'ér 'ào sì què jí lì fǒu dìng zhè gè biǎo jué， tā rèn wéi shì gù shì yóuヤシロ gōng sī tí gōng de dēng shān gōng jù yòu zhì liàng yǐn huàn suǒ dǎo zhì de， zhè yī fā yán， yǐn qǐ liǎo hěn dà fǎn xiǎng。 bā dài shè cháng jiān chí shuō shì yòu běi zé de cāo zuò shī wù dǎo zhì shì gù， yǐ wéi fǎn xìn yòng wéi yóu qǐ sù liǎo 'ào sì。 ào sì zé yǔ běi zé de mèi mèiゆかり yǐ jí mǔ qīn qiū zǐ ( jí xíng hé zǐ ) yī qǐ xié shǒu zhǎn kāi zhè chǎng fǎ tíng shàng de dǒu。。。。。。
magicline
zài pān dēng k2 de tú zhōng， běi zé bāng mèi mèi ゆ か り ( chuī shí yī huì ) xiàng 'ào sì biǎo dá liǎo 'ài mù zhī qíng， yǔ cǐ tóng shí， běi zé yě zhì wèn liǎo 'ào sì duìヤシロ de bā dài shè cháng（ shí bǎn hào 'èr） de qī zǐ měi nà zǐ（ hè tián zhēn yóu） de gǎn jué。 jiù zài zhè pān dēng k2 de tú zhōng， liǎng rén tuī xīn zhì fù。 ér liú zài rì běn de bā dài hé měi nà zǐ duì k2 yě chōng mǎn liǎo xiá xiǎng。 yīn wéi zài chū fā qián， ào sì céng duì bā dài tiǎo míng：“ rú guǒ wǒ néng huó
zhe cóng k2 huí lái， jiù bǎ měi nà zǐ jiāo gěi wǒ”
zài pān dēng dǐng fēng de dì sì tiān， ào sì liǎng rén zhōng yú dào dá liǎo hǎi bá 8000 mǐ de magicline de“ z” xíng pān dēng qū。 yóu yú gāo kōng yǎng qì xī bó， èr rén de tǐ lì yǐ jiē jìn tòu zhī， dì 'èr tiān， dāng liǎng rén dào dá hào chēng“ sān rì yuè の ガ リ ー” de xiǎn jùn yán gōu shí， yī dǔ gāo 70 mǐ de bīng bì hào rán sǒng lì zài tā men miàn qián。 yóu yú wēn dù guò dī， wú fǎ gù dìng zhàng péng， wú xiàn duì jiǎng jī yě wú fǎ shǐ yòng， zhèng zài cǐ shí， yòu tū fā xuě bēng běi zé yīn cǐ jiǎo bù gǔ zhé。 yóu yú nà lǐ shì xuě bēng duō fā dì， ào sì mǎ shàng yòng huī fù gōng néng de wú xiàn duì jiǎng jī lián luò běn bù， bào gào zhōng zhǐ cǐ cì tàn xiǎn。 pān dēng k2 gào zhōng shī bài， jiē xià lái de wèn tí shì rú hé shēng hái。 ào sì xuǎn zé liǎo bì kāi xuě bēng duō fā dì， yǔ běi zé yī tóng pān dēng bīng bì， zài yóu pǔ tōng de shān lù xià shān de táo shēng cuò shī。 ào sì yòng jìn zuì hòu de lì qì， zài bīng bì shàng chuí xià shéng suǒ， bìng ràng běi zé xiān pān dēng， zì jǐ jǐn suí qí hòu， bù xìng de shì běi zé zhuì luò bīng bì。
běi zé de sǐ yǐn cáng liǎo hěn dà de mí tuán。 huí guó yǐ hòu， zhì zhī（ wǔ tián zhēn zhì） zuò wéiヤシロ gōng sī de fǎ rén， duì wài jiě shì shuō běi zé de sǐ shì yóu yú pān dēng de shū hū。 rán 'ér 'ào sì què jí lì fǒu dìng zhè gè biǎo jué， tā rèn wéi shì gù shì yóuヤシロ gōng sī tí gōng de dēng shān gōng jù yòu zhì liàng yǐn huàn suǒ dǎo zhì de， zhè yī fā yán， yǐn qǐ liǎo hěn dà fǎn xiǎng。 bā dài shè cháng jiān chí shuō shì yòu běi zé de cāo zuò shī wù dǎo zhì shì gù， yǐ wéi fǎn xìn yòng wéi yóu qǐ sù liǎo 'ào sì。 ào sì zé yǔ běi zé de mèi mèiゆかり yǐ jí mǔ qīn qiū zǐ ( jí xíng hé zǐ ) yī qǐ xié shǒu zhǎn kāi zhè chǎng fǎ tíng shàng de dǒu。。。。。。
Two Year's Holiday， zhōng wén yì míng wéi《 liǎng nián jiàqī》， zhè shì yī bù chōng mǎn chuán qí yǔ mào xiǎn de zhù zuò， tā yóu fǎ guó zhù míng zuò jiā、“ xiàn dài kē huàn xiǎo shuō zhī fù” rú lè · fán 'ěr nà biān zhù。
gù shì jiǎng shù de shì， zài yī nián de xué xí jié shù shí， lái zì xīn xī lán mǒu jì sù xué xiào de yī qún xué shēng jiāng yào kāi shǐ yī cì wéi qī jǐ tiān de háng hǎi lǚ xíng。 rán 'ér， dāng hái zǐ men bàn yè jīng xǐng shí fā xiàn， tā men de chuán yǐ jīng piào liú zài hào hàn de hǎi miàn shàng， yuán lái zài chū fā qián yè yóu chuán de lǎn shéng duàn liè liǎo。 hǎi miàn fēng làng dà zuò， ér chuán shàng jì méi yòu chuán cháng， yě méi yòu shuǐ shǒu， wēi xiǎn、 kǒng jù、 jué wàng hé gū dú lǒngzhào zhe zhěng gè yóu chuán。 chuán suí hǎi làng piào liú tíng kào zài yī zuò huāng wú rén yān de xiǎo dǎo shàng， suī rán shēn chù jiān nán jìng dì， dàn hái zǐ men hái shì píng zhe rè qíng、 lǐ xìng hé yǒng qì， zuì zhōng bǎi tuō liǎo kùn jìng huí dào zì jǐ de jiā rén shēn biān。 gù shì qíng jié diē dàng qǐ fú， ér yī lù yòu guān zì rán fēng guāng de jiè shào yě tóng yàng yǐn rén rù shèng。
gāi shū zhì jīn yǐ bèi yì chéng shì jiè shàng duō zhǒng wén zì。 shū zhōng suǒ zhǎn xiàn de shén qí gù shì bàn suí liǎo ～ dài yòu yī dài rén de měi lì tóng nián、 shàonián zhí zhì chéng nián。 wú lùn zuò wéi yǔ yán xué xí de kè běn， hái shì zuò wéi tōng sú de wén xué hé kē xué dú běn， běn shū duì dāng dài zhōng guó de qīng shàonián dū jiāng chǎn shēng jī jí de yǐng xiǎng。 wèile shǐ dú zhě néng gòu liǎo jiě yīng wén gù shì gài kuàng， jìn 'ér tí gāo yuè dú sù dù hé yuè dú shuǐ píng， zài měi zhāng de kāi shǐ bù fēn zēng jiā liǎo zhōng wén dǎo dú。
Publication
As with most of Verne's works, it was serialised (in twenty-four parts between January and December 1888) in the "Extraordinary Journeys" section of the French Magasin d’Éducation et de Récréation by Parisian publisher Hetzel. It was also published in book form in two volumes in June and early November of that year. An illustrated double volume with a colour map and a preface by Verne was released in late November.
Translations and adaptations
An English translation of the book was serialised in 36 installments in the Boy's Own Paper between 1888 and 1889.
In 1889 a two-volume English-language book titled A Two Year's Vacation was published by Munro in the United States. Later the same year, a single-volume abridged edition in the United Kingdom was released by Sampson Low under the title of Adrift in the Pacific.
In 1890, from February 22 through March 14, the Boston Daily Globe newspaper serialized Adrift in the Pacific; the Strange Adventures of a Schoolboy Crew.
In 1965 the I. O. Evens version of the Sampson Low translation was published in England (ARCO) and the U.S. (Associated Publishers) in two volumes: Adrift in the Pacific and Second Year Ashore.
In 1967 a new modified and abridged translation by Olga Marx with illustrations by Victor Ambrus titled A Long Vacation was published by Oxford University Press in the United Kingdom and Holt, Rinehart & Winston in the United States.
In 1967 Czech filmmaker Karel Zeman made a loose adaptation under the title The Stolen Airship / Ukradená vzducholod.
In 1987 a made-for-TV animation was produced by the Japanese studio Nippon Animation under the title of The Story of Fifteen Boys (Japanese: 十五少年漂流記).
Plot summary
The story starts with a group of schoolboys aged between eight and thirteen on board a schooner moored at Auckland, New Zealand, and preparing to set off on a six-week vacation. With the exception of the oldest boy Gordon, an American, and Briant and Jacques, two French brothers, all the boys are British.
While the schooner's crew are ashore, the moorings are cast off under unknown circumstances and the ship drifts to sea, where it is caught by a storm. Twenty-two days later, the boys find themselves cast upon the shore of an uncharted island, which they name "Chairman Island." They remain there for the next two years until a passing ship lands. The ship has been taken over by mutineers, intent on trafficking weapons, alcohol and drugs. With the aid of the two surviving members of the original crew, the boys are able to defeat the criminals and make their escape.
The struggles for survival and dominance amongst the boys were to be echoed in William Golding's Lord of the Flies, written some 66 years later.
gù shì jiǎng shù de shì， zài yī nián de xué xí jié shù shí， lái zì xīn xī lán mǒu jì sù xué xiào de yī qún xué shēng jiāng yào kāi shǐ yī cì wéi qī jǐ tiān de háng hǎi lǚ xíng。 rán 'ér， dāng hái zǐ men bàn yè jīng xǐng shí fā xiàn， tā men de chuán yǐ jīng piào liú zài hào hàn de hǎi miàn shàng， yuán lái zài chū fā qián yè yóu chuán de lǎn shéng duàn liè liǎo。 hǎi miàn fēng làng dà zuò， ér chuán shàng jì méi yòu chuán cháng， yě méi yòu shuǐ shǒu， wēi xiǎn、 kǒng jù、 jué wàng hé gū dú lǒngzhào zhe zhěng gè yóu chuán。 chuán suí hǎi làng piào liú tíng kào zài yī zuò huāng wú rén yān de xiǎo dǎo shàng， suī rán shēn chù jiān nán jìng dì， dàn hái zǐ men hái shì píng zhe rè qíng、 lǐ xìng hé yǒng qì， zuì zhōng bǎi tuō liǎo kùn jìng huí dào zì jǐ de jiā rén shēn biān。 gù shì qíng jié diē dàng qǐ fú， ér yī lù yòu guān zì rán fēng guāng de jiè shào yě tóng yàng yǐn rén rù shèng。
gāi shū zhì jīn yǐ bèi yì chéng shì jiè shàng duō zhǒng wén zì。 shū zhōng suǒ zhǎn xiàn de shén qí gù shì bàn suí liǎo ～ dài yòu yī dài rén de měi lì tóng nián、 shàonián zhí zhì chéng nián。 wú lùn zuò wéi yǔ yán xué xí de kè běn， hái shì zuò wéi tōng sú de wén xué hé kē xué dú běn， běn shū duì dāng dài zhōng guó de qīng shàonián dū jiāng chǎn shēng jī jí de yǐng xiǎng。 wèile shǐ dú zhě néng gòu liǎo jiě yīng wén gù shì gài kuàng， jìn 'ér tí gāo yuè dú sù dù hé yuè dú shuǐ píng， zài měi zhāng de kāi shǐ bù fēn zēng jiā liǎo zhōng wén dǎo dú。
Publication
As with most of Verne's works, it was serialised (in twenty-four parts between January and December 1888) in the "Extraordinary Journeys" section of the French Magasin d’Éducation et de Récréation by Parisian publisher Hetzel. It was also published in book form in two volumes in June and early November of that year. An illustrated double volume with a colour map and a preface by Verne was released in late November.
Translations and adaptations
An English translation of the book was serialised in 36 installments in the Boy's Own Paper between 1888 and 1889.
In 1889 a two-volume English-language book titled A Two Year's Vacation was published by Munro in the United States. Later the same year, a single-volume abridged edition in the United Kingdom was released by Sampson Low under the title of Adrift in the Pacific.
In 1890, from February 22 through March 14, the Boston Daily Globe newspaper serialized Adrift in the Pacific; the Strange Adventures of a Schoolboy Crew.
In 1965 the I. O. Evens version of the Sampson Low translation was published in England (ARCO) and the U.S. (Associated Publishers) in two volumes: Adrift in the Pacific and Second Year Ashore.
In 1967 a new modified and abridged translation by Olga Marx with illustrations by Victor Ambrus titled A Long Vacation was published by Oxford University Press in the United Kingdom and Holt, Rinehart & Winston in the United States.
In 1967 Czech filmmaker Karel Zeman made a loose adaptation under the title The Stolen Airship / Ukradená vzducholod.
In 1987 a made-for-TV animation was produced by the Japanese studio Nippon Animation under the title of The Story of Fifteen Boys (Japanese: 十五少年漂流記).
Plot summary
The story starts with a group of schoolboys aged between eight and thirteen on board a schooner moored at Auckland, New Zealand, and preparing to set off on a six-week vacation. With the exception of the oldest boy Gordon, an American, and Briant and Jacques, two French brothers, all the boys are British.
While the schooner's crew are ashore, the moorings are cast off under unknown circumstances and the ship drifts to sea, where it is caught by a storm. Twenty-two days later, the boys find themselves cast upon the shore of an uncharted island, which they name "Chairman Island." They remain there for the next two years until a passing ship lands. The ship has been taken over by mutineers, intent on trafficking weapons, alcohol and drugs. With the aid of the two surviving members of the original crew, the boys are able to defeat the criminals and make their escape.
The struggles for survival and dominance amongst the boys were to be echoed in William Golding's Lord of the Flies, written some 66 years later.
zhè shì 1873 nián 2 yuè 2 rì， fān chuán“ làng zǐ” hào zhèng háng xíng zài nán wěi 43°57 ′， xī jīng 165°19′。 zhè shì yī sōu zài zhòng 400 dūn de bǔ jīng chuán， chuán shàng gè shì gè yàng de shè bèi dōushì cóng jiù jīn shān zhuāng bèi qǐ lái de。 tā de chuán zhù shì huì 'ěr dùn， shì jiā lì fú ní yà zhōu yī wèi fù yòu de chuán duì duì cháng， hú 'ěr zuò zhè chuán de chuán cháng yǐ jīng hǎo jǐ nián liǎo。
měi dào bǔ jīng jì jié， huì 'ěr dùn jiù huì mìng lìng chuán duì běi shàng nán xià， xiàng běi chuān guò bái lìng hǎi xiá zhí dào běi bīng yáng， xiàng nán zé guò hé 'ēn jiǎo zhí dào nán jí zhōu。“ làng zǐ” hào shì huì 'ěr dùn de chuán duì zhōng zuì xiǎo de yī tiáo bǔ jīng chuán， dàn tā shè bèi xiān jìn， cāo zuò jiǎn biàn， zhǐ yòng jǐ gè chuán yuán jiù gǎn dào nán bàn qiú de bīng shān zhōng qù mào xiǎn。 fù yòu jīng yàn de hú 'ěr chuán cháng hěn shàn yú zài zhè xiē bīng shān zhōng jiān wéi“ làng zǐ” hào zhǎo dào yī tiáo qiǎo miào de tōng dào。 zhè xiē bīng shān zài xià jì néng piào liú dào xīn xī lán hé hǎo wàng jiǎo suǒ zài de nà gè wěi dù， bǐ běi bīng yáng bīng shān suǒ néng piào liú de jù lí yào yuǎn dé duō。 zhè xiē bīng shān běn lái tǐ jī jiù bù tài dà， jiā shàng yán tú de pèng zhuàng hé wēn nuǎn de hǎi liú， suǒ yǐ tā men dà bù fēn huì xiāo shī zài tài píng yáng huò dà xī yáng zhōng。
Themes explored in the novel include:
* The painful learning of adult life - the hero, Dick Sand, must assume command of a ship after the disappearance of its captain.
* The discovery of entomology
* Condemnation of slavery
* Revenge
Plot
Dick Sand is a fifteen year old boy serving on the schooner "Pilgrim" as a sailor. The crew are whale hunters that voyage every year down to New Zealand. After an unsuccessful season of hunting, as they plan to return the wife of the owner of the hunting firm, Mrs Weldon, her five year old son Jack Weldon and her cousin, Bénédict, an entomologist ask for a return passege to San Francisco. Several days into the journey they save five shipwrecked passengers from another ship and a dog who was with them at the time (Tom, Actéon, Austin, Bat, Nan and Dingo (the dog)). Towards the end of their passage, they notice a whale and the crew, hoping for some profit after a bad season, decide to hunt it. Captain Hull reluctantly leaves Dick responsible for the ship. But the hunt goes awry and all the crew members are killed. Now Dick is left in charge of the ship with no experienced sailors to help him. He tries to teach the five survivors of the shipwreck and tries to reach the coast of South America, but Negoro, the ship's cook manages to trick them, breaking one of their compasses and their speed measuring device and eventually, after making sure the rest were lost, leads them to equatorial Africa.
List of characters
These names are as given in the original French version:
* Dick Sand
* Actéon
* Alvez
* Austin
* Bat
* Cousin Bénédict
* Coïmbra
* Dingo
* Halima
* Harris
* Big D
* Hercule, a recurring Verne character, here given the pseudonym Mgannga
* Howik
* Captain Hull
* Ibn Hamis
* Moina
* Moini Loungga
* Munito
* Nan
* Negoro
* Tipo-Tipo
* Tom
* Samuel Vernon
* Jack Weldon
* James-W. Weldon
* Mrs. Weldon
měi dào bǔ jīng jì jié， huì 'ěr dùn jiù huì mìng lìng chuán duì běi shàng nán xià， xiàng běi chuān guò bái lìng hǎi xiá zhí dào běi bīng yáng， xiàng nán zé guò hé 'ēn jiǎo zhí dào nán jí zhōu。“ làng zǐ” hào shì huì 'ěr dùn de chuán duì zhōng zuì xiǎo de yī tiáo bǔ jīng chuán， dàn tā shè bèi xiān jìn， cāo zuò jiǎn biàn， zhǐ yòng jǐ gè chuán yuán jiù gǎn dào nán bàn qiú de bīng shān zhōng qù mào xiǎn。 fù yòu jīng yàn de hú 'ěr chuán cháng hěn shàn yú zài zhè xiē bīng shān zhōng jiān wéi“ làng zǐ” hào zhǎo dào yī tiáo qiǎo miào de tōng dào。 zhè xiē bīng shān zài xià jì néng piào liú dào xīn xī lán hé hǎo wàng jiǎo suǒ zài de nà gè wěi dù， bǐ běi bīng yáng bīng shān suǒ néng piào liú de jù lí yào yuǎn dé duō。 zhè xiē bīng shān běn lái tǐ jī jiù bù tài dà， jiā shàng yán tú de pèng zhuàng hé wēn nuǎn de hǎi liú， suǒ yǐ tā men dà bù fēn huì xiāo shī zài tài píng yáng huò dà xī yáng zhōng。
Themes explored in the novel include:
* The painful learning of adult life - the hero, Dick Sand, must assume command of a ship after the disappearance of its captain.
* The discovery of entomology
* Condemnation of slavery
* Revenge
Plot
Dick Sand is a fifteen year old boy serving on the schooner "Pilgrim" as a sailor. The crew are whale hunters that voyage every year down to New Zealand. After an unsuccessful season of hunting, as they plan to return the wife of the owner of the hunting firm, Mrs Weldon, her five year old son Jack Weldon and her cousin, Bénédict, an entomologist ask for a return passege to San Francisco. Several days into the journey they save five shipwrecked passengers from another ship and a dog who was with them at the time (Tom, Actéon, Austin, Bat, Nan and Dingo (the dog)). Towards the end of their passage, they notice a whale and the crew, hoping for some profit after a bad season, decide to hunt it. Captain Hull reluctantly leaves Dick responsible for the ship. But the hunt goes awry and all the crew members are killed. Now Dick is left in charge of the ship with no experienced sailors to help him. He tries to teach the five survivors of the shipwreck and tries to reach the coast of South America, but Negoro, the ship's cook manages to trick them, breaking one of their compasses and their speed measuring device and eventually, after making sure the rest were lost, leads them to equatorial Africa.
List of characters
These names are as given in the original French version:
* Dick Sand
* Actéon
* Alvez
* Austin
* Bat
* Cousin Bénédict
* Coïmbra
* Dingo
* Halima
* Harris
* Big D
* Hercule, a recurring Verne character, here given the pseudonym Mgannga
* Howik
* Captain Hull
* Ibn Hamis
* Moina
* Moini Loungga
* Munito
* Nan
* Negoro
* Tipo-Tipo
* Tom
* Samuel Vernon
* Jack Weldon
* James-W. Weldon
* Mrs. Weldon
1854 nián 2 yuè 27 rì， yòu liǎng gè rén tǎng zài 'ào lán zhì hé biān yī kē gāo dà de chuí liǔ xià， yī biān xián tán yī biān quán shén guàn zhù dì guān chá zhe hé miàn。 zhè tiáo bèi hé lán zhí mín zhě chēng zuò gé lǔ tè hé， bèi tǔ zhù huò dùn dū rén chēng zuò jiā liè pǔ de 'ào lán zhì hé， kě yǐ yǔ fēi zhōu dà lù de sān dà dòng mài： ní luó hé、 ní rì 'ěr hé hé zàn bǐ xī hé xiāng tí bìng lùn。 xiàng zhè sān dà hé liú yī yàng， tā yě yòu zì jǐ de gāo shuǐ wèi、 jí liú hé pù bù。 jǐ wèi zài 'ào lán zhì hé bù fēn liú yù hěn zhī míng de lǚ xíng jiā： tānɡ pǔ sēn、 yà lì shān dà、 bō qiē 'ěr， dū xiāng jì zàn tàn qí hé shuǐ qīng chè， liǎng 'àn fēng guāng qǐ lì。
ào lán zhì hé zài zhè yī dì duàn lín jìn yuē kè gōng jué shān mài， chéng xiàn chū yī pài zhuàng lì de jǐng guān。 nà xiē wú fǎ pān yuè de yán shí， jù dà de shí duī， bèi suì yuè wú qíng kuàng huà de cū dà shù gān hé wèi jīng zhí mín zhě de fǔ tóu kāi záo de nán yǐ jìn rù de yuán shǐ lǎo lín， zài jiā liè bān shān mài de huán rào xià， xíng chéng liǎo yī fāng wú yǐ bǐ nǐ de zhuàng guān jǐng sè。 hé shuǐ zài zhè lǐ yóu yú hé chuáng tài zhǎi shòu dào xié zhì， hé chuáng yě yīn cǐ bù néng chéng shòu 'ér tū rán tā xiàn， shuǐ liú yú shì cóng 400 fǎ chǐ ① de gāo chù fēi liú zhí xiè xià lái。 pù bù de shàng liú， shì yī guà jiǎn jiǎn dān dān de fān téng bù zhǐ de shuǐ lián， bèi jǐ kuài yán shí tàn chū chuí shì zhe lǜ sè zhī tiáo de nǎo dài huá pò liǎo。 zài pù bù de xià fāng。 ròu yǎn zhǐ néng kàn dào yī tán xiōng yǒng de yīn chén chén de shuǐ wō， yī tuán nóng zhòng cháo shī、 bèi yáng guāng de qī sè guāng zhù huá chū dào wén de shuǐ wù lǒngzhào zài shàng miàn。 lìng rén fán zào de huá huá shuǐ shēng cóng shēn tán zhōng fā chū lái， yòu bèi shān gǔ kuò dà chéng liǎo jù dà de huí xiǎng。
Plot introduction
Three Russian and three English scientists depart to South Africa to measure the meridian. As their mission is proceeding, the Crimean war breaks out, and the members of the expedition find themselves citizens of enemy countries. This novel can be found under alternate titles such as "Adventures in the Land of the Behemoth," "Measuring a Meridian" and "Meridiana or Adventures in South Africa."
ào lán zhì hé zài zhè yī dì duàn lín jìn yuē kè gōng jué shān mài， chéng xiàn chū yī pài zhuàng lì de jǐng guān。 nà xiē wú fǎ pān yuè de yán shí， jù dà de shí duī， bèi suì yuè wú qíng kuàng huà de cū dà shù gān hé wèi jīng zhí mín zhě de fǔ tóu kāi záo de nán yǐ jìn rù de yuán shǐ lǎo lín， zài jiā liè bān shān mài de huán rào xià， xíng chéng liǎo yī fāng wú yǐ bǐ nǐ de zhuàng guān jǐng sè。 hé shuǐ zài zhè lǐ yóu yú hé chuáng tài zhǎi shòu dào xié zhì， hé chuáng yě yīn cǐ bù néng chéng shòu 'ér tū rán tā xiàn， shuǐ liú yú shì cóng 400 fǎ chǐ ① de gāo chù fēi liú zhí xiè xià lái。 pù bù de shàng liú， shì yī guà jiǎn jiǎn dān dān de fān téng bù zhǐ de shuǐ lián， bèi jǐ kuài yán shí tàn chū chuí shì zhe lǜ sè zhī tiáo de nǎo dài huá pò liǎo。 zài pù bù de xià fāng。 ròu yǎn zhǐ néng kàn dào yī tán xiōng yǒng de yīn chén chén de shuǐ wō， yī tuán nóng zhòng cháo shī、 bèi yáng guāng de qī sè guāng zhù huá chū dào wén de shuǐ wù lǒngzhào zài shàng miàn。 lìng rén fán zào de huá huá shuǐ shēng cóng shēn tán zhōng fā chū lái， yòu bèi shān gǔ kuò dà chéng liǎo jù dà de huí xiǎng。
Plot introduction
Three Russian and three English scientists depart to South Africa to measure the meridian. As their mission is proceeding, the Crimean war breaks out, and the members of the expedition find themselves citizens of enemy countries. This novel can be found under alternate titles such as "Adventures in the Land of the Behemoth," "Measuring a Meridian" and "Meridiana or Adventures in South Africa."
“ zhè xiē yīng guó bào zhǐ biān dé zhēn hǎo！” hé shàn de dà fū yǎng kào zài yī zhāng dà pí fú shǒu yǐ lǐ zì yán zì yǔ dì shuō。
sà lā zàn dà fū yī bèi zǐ jiù zhè me zì yán zì yǔ de， zhè shì tā de xiāo qiǎn fāng shì zhī yī zhǒng。
tā nián yǐ wǔ shí， méi mù qīng xiù， yǎn jīng yòu shén， qīng chè liàng jīng， dài zhe yī fù jīn shǔ jià yǎn jìng， xiàngmào jì yán sù yòu hé 'ǎi kě qīn， ràng rén yī kàn jiù shì yī gè zhèng rén jūn zǐ。 zhè tiān zǎo chén， jìn guǎn tā cǐ kè yī zhe bìng bù shí fēn kǎo jiū， dàn què zǎo yǐ guā hǎo liǎn， jié shàng liǎo bái lǐng dài liǎo。
sà lā zàn dà fū yī bèi zǐ jiù zhè me zì yán zì yǔ de， zhè shì tā de xiāo qiǎn fāng shì zhī yī zhǒng。
tā nián yǐ wǔ shí， méi mù qīng xiù， yǎn jīng yòu shén， qīng chè liàng jīng， dài zhe yī fù jīn shǔ jià yǎn jìng， xiàngmào jì yán sù yòu hé 'ǎi kě qīn， ràng rén yī kàn jiù shì yī gè zhèng rén jūn zǐ。 zhè tiān zǎo chén， jìn guǎn tā cǐ kè yī zhe bìng bù shí fēn kǎo jiū， dàn què zǎo yǐ guā hǎo liǎn， jié shàng liǎo bái lǐng dài liǎo。
“ míng tiān luò cháo de shí hòu， chuán cháng K.Z.、 dà fù lǐ chá dé · shān dūn jiāng shuài lǐng‘ qián jìn ’ hào cóng xīn wáng zǐ mǎ tóu chū fā， shǐ xiàng mò shēng de hǎi yù。”
zhè jiù shì rén men zài 1860 nián 4 yuè 5 rì de“ lì wù pǔ xiān qū bào” shàng dú dào de nèi róng。
duì yú yīng guó zuì fán máng de shāng yè gǎng kǒu lái shuō， yī sōu chuán lí gǎng bìng bù shì shénme dà bù liǎo de shì。 shuí huì zài gè zhǒng dūn wèi、 gè gè guó jiā de lún chuán dāng zhōng zhù yì dào liǎng lǐ① de fú dòng chuán wù róng nà zhè me duō chuán yòu kùn nán？
① gǔ hǎi lǐ， yuē hé 5.556 gōng lǐ。
rán 'ér， 4 yuè 6 rì yī zǎo， yī dà qún rén jù jí zài xīn wáng zǐ mǎ tóu shàng， chéng lǐ hǎi yuán hánghuì lǐ shǔbù qīng de rén kàn qǐ lái xiàng zài zhè lǐ pèng tóu。 fù jìn de gōng rén fàng xià tā men shǒu zhōng de huó jì， pī fā shāng lí kāi liǎo tā men yīn 'àn de guì tái， shāng rén men lí kāi liǎo tā men lěng lěng qīng qīng de shāng diàn。 yán zhe chuán wù wài qiáng pái liè de wǔ yán liù sè de gōng gòng mǎ chē měi fēn zhōng dū yùn lái yī xiē hàoqí de chéng kè； zhěng gè chéng shì kàn qǐ lái zhǐ zài máng huó yī jiàn shì： guān kàn“ qián jìn” hào de qǐ háng。
The novel was published for the first time in 1864. The definitive version from 1866 was included into Voyages Extraordinaires series (The Extraordinary Voyages). Although it was the first book of the series it was labeled as number two. Three Verne's books from 1863-65 (Five Weeks in a Balloon, Journey to the Center of the Earth, and From the Earth to the Moon) were added into the series retroactively. Captain Hatteras shows many similarities with British explorer John Franklin.
Plot summary
The novel, set in 1861, described adventures of British expedition led by Captain John Hatteras to the North Pole. Hatteras is convinced that the sea around the pole is not frozen and his obsession is to reach the place no matter what. Mutiny by the crew results in destruction of their ship but Hatteras, with a few men, continues on the expedition. On the shore of the island of "New America" he discovers the remains of a ship used by the previous expedition from the United States. Doctor Clawbonny recalls in mind the plan of the real Ice palace, constructed completely from ice in Russia in 1740 to build a snow-house, where they should spend a winter. The travellers winter on the island and survive mainly due to the ingenuity of Doctor Clawbonny (who is able to make fire with an ice lens, make bullets from frozen mercury and repel attacks by polar bears with remotely controlled explosions of black powder).
When the winter ends the sea becomes ice-free. The travellers build a boat from the shipwreck and head towards the pole. Here they discover an island, an active volcano, and name it after Hatteras. With difficulty a fjord is found and the group get ashore. After three hours climbing they reach the mouth of the volcano. The exact location of the pole is in the crater and Hatteras jumps into it. As the sequence was originally written, Hatteras perishes in the crater; Verne's editor, Jules Hetzel, suggested or rather required that Verne do a rewrite so that Hatteras survives but is driven insane by the intensity of the experience, and after return to England he is put into an asylum for the insane. Losing his "soul" in the cavern of the North Pole, Hatteras never speaks another word. He spends the remainder of his days walking the streets surrounding the asylum with his faithful dog Duke. While mute and deaf to the world Hatteras' walks are not without a direction. As indicated by the last line "Captain Hatteras forever marches northward".
New America
New America (Nouvelle-Amerique) in map of Captain Hatteras' voyage
New America is the name given to a large Arctic island, a northward extension of Ellesmere Island, as discovered by Captain John Hatteras and his crew. Its features include, on the west coast, Victoria Bay, Cape Washington, Johnson Island, Bell Mountain, and Fort Providence, and at its northern point (87°5′N 118°35′W / 87.083°N 118.583°W / 87.083; -118.583), Altamont Harbour.
As with many of Verne's imaginative creations, his description of Arctic geography was based on scientific knowledge at the time the novel was written (1866) but foreshadowed future discoveries. Ellesmere Island had been re-discovered and named by Edward Inglefield in 1852 and further explored by Isaac Israel Hayes in 1860-61. Forty years after the novel's publication, in 1906, Robert Peary claimed to have sighted Crocker Land around 83° N, and in 1909, Frederick Cook sighted Bradley Land at 85° N, both at locations occupied by Verne's New America. Cook's choice of route may actually have been inspired by his reading of Verne.
The land is named by Captain Altamont, an American explorer, who is first to set foot on the land. In the novel as published, it is unclear whether New America is meant to be a territorial claim for the United States. As William Butcher points out, this would not be surprising, since Verne wrote about the US acquisition of Alaska in The Fur Country, and Lincoln Island is proposed as a US possession in The Mysterious Island. In fact, a deleted chapter, "John Bull and Jonathan," had Hatteras and Altamont dueling for the privilege of claiming the land for their respective countries.
In popular culture
In 1912, Georges Méliès made a film based on the story entitled Conquest of the Pole (French: Conquête du pôle).
zhè jiù shì rén men zài 1860 nián 4 yuè 5 rì de“ lì wù pǔ xiān qū bào” shàng dú dào de nèi róng。
duì yú yīng guó zuì fán máng de shāng yè gǎng kǒu lái shuō， yī sōu chuán lí gǎng bìng bù shì shénme dà bù liǎo de shì。 shuí huì zài gè zhǒng dūn wèi、 gè gè guó jiā de lún chuán dāng zhōng zhù yì dào liǎng lǐ① de fú dòng chuán wù róng nà zhè me duō chuán yòu kùn nán？
① gǔ hǎi lǐ， yuē hé 5.556 gōng lǐ。
rán 'ér， 4 yuè 6 rì yī zǎo， yī dà qún rén jù jí zài xīn wáng zǐ mǎ tóu shàng， chéng lǐ hǎi yuán hánghuì lǐ shǔbù qīng de rén kàn qǐ lái xiàng zài zhè lǐ pèng tóu。 fù jìn de gōng rén fàng xià tā men shǒu zhōng de huó jì， pī fā shāng lí kāi liǎo tā men yīn 'àn de guì tái， shāng rén men lí kāi liǎo tā men lěng lěng qīng qīng de shāng diàn。 yán zhe chuán wù wài qiáng pái liè de wǔ yán liù sè de gōng gòng mǎ chē měi fēn zhōng dū yùn lái yī xiē hàoqí de chéng kè； zhěng gè chéng shì kàn qǐ lái zhǐ zài máng huó yī jiàn shì： guān kàn“ qián jìn” hào de qǐ háng。
The novel was published for the first time in 1864. The definitive version from 1866 was included into Voyages Extraordinaires series (The Extraordinary Voyages). Although it was the first book of the series it was labeled as number two. Three Verne's books from 1863-65 (Five Weeks in a Balloon, Journey to the Center of the Earth, and From the Earth to the Moon) were added into the series retroactively. Captain Hatteras shows many similarities with British explorer John Franklin.
Plot summary
The novel, set in 1861, described adventures of British expedition led by Captain John Hatteras to the North Pole. Hatteras is convinced that the sea around the pole is not frozen and his obsession is to reach the place no matter what. Mutiny by the crew results in destruction of their ship but Hatteras, with a few men, continues on the expedition. On the shore of the island of "New America" he discovers the remains of a ship used by the previous expedition from the United States. Doctor Clawbonny recalls in mind the plan of the real Ice palace, constructed completely from ice in Russia in 1740 to build a snow-house, where they should spend a winter. The travellers winter on the island and survive mainly due to the ingenuity of Doctor Clawbonny (who is able to make fire with an ice lens, make bullets from frozen mercury and repel attacks by polar bears with remotely controlled explosions of black powder).
When the winter ends the sea becomes ice-free. The travellers build a boat from the shipwreck and head towards the pole. Here they discover an island, an active volcano, and name it after Hatteras. With difficulty a fjord is found and the group get ashore. After three hours climbing they reach the mouth of the volcano. The exact location of the pole is in the crater and Hatteras jumps into it. As the sequence was originally written, Hatteras perishes in the crater; Verne's editor, Jules Hetzel, suggested or rather required that Verne do a rewrite so that Hatteras survives but is driven insane by the intensity of the experience, and after return to England he is put into an asylum for the insane. Losing his "soul" in the cavern of the North Pole, Hatteras never speaks another word. He spends the remainder of his days walking the streets surrounding the asylum with his faithful dog Duke. While mute and deaf to the world Hatteras' walks are not without a direction. As indicated by the last line "Captain Hatteras forever marches northward".
New America
New America (Nouvelle-Amerique) in map of Captain Hatteras' voyage
New America is the name given to a large Arctic island, a northward extension of Ellesmere Island, as discovered by Captain John Hatteras and his crew. Its features include, on the west coast, Victoria Bay, Cape Washington, Johnson Island, Bell Mountain, and Fort Providence, and at its northern point (87°5′N 118°35′W / 87.083°N 118.583°W / 87.083; -118.583), Altamont Harbour.
As with many of Verne's imaginative creations, his description of Arctic geography was based on scientific knowledge at the time the novel was written (1866) but foreshadowed future discoveries. Ellesmere Island had been re-discovered and named by Edward Inglefield in 1852 and further explored by Isaac Israel Hayes in 1860-61. Forty years after the novel's publication, in 1906, Robert Peary claimed to have sighted Crocker Land around 83° N, and in 1909, Frederick Cook sighted Bradley Land at 85° N, both at locations occupied by Verne's New America. Cook's choice of route may actually have been inspired by his reading of Verne.
The land is named by Captain Altamont, an American explorer, who is first to set foot on the land. In the novel as published, it is unclear whether New America is meant to be a territorial claim for the United States. As William Butcher points out, this would not be surprising, since Verne wrote about the US acquisition of Alaska in The Fur Country, and Lincoln Island is proposed as a US possession in The Mysterious Island. In fact, a deleted chapter, "John Bull and Jonathan," had Hatteras and Altamont dueling for the privilege of claiming the land for their respective countries.
In popular culture
In 1912, Georges Méliès made a film based on the story entitled Conquest of the Pole (French: Conquête du pôle).
1825 nián 10 yuè 18 rì， yī sōu jīng xīn dǎ zào de xī bān yá jūn jiàn“ yà zhōu hào”， yǔ lìng yī sōu pèi yòu 8 mén dà pào de shuāng wéi héng fān chuán“ kāng sī tǎn qí yà hào” zài gé ràng dǎo jiě lǎn kāi háng liǎo。 gé ràng dǎo shì mǎ lǐ yà nà qún dǎo de yī bù fēn。
chuán shàng de shuǐ shǒu huǒ shí chā， dài yù dī。 zài kāi wǎng xī bān yá de 6 gè yuè de háng chéng zhōng， tā men kùn dùn bù kān， zhèng mì móu cè dòng yī cì huá biàn。
hé“ yà zhōu hào” shàng de shuǐ shǒu xiāng bǐ，“ kāng sī tǎn qí yà hào” shàng de shuǐ shǒu shēng xìng gèng jiā wán liè guāi zhāng。 tā yóu chuán cháng táng · ào tè huá zhǐ huī。 zhè gè rén shì gè yòu zhe zhèng zhèng tiě gǔ de yìng hàn zǐ， cóng láidōu bù fú shū， dàn zhè sōu chuán de háng chéng què yīn lǚ cì shòu zǔ 'ér jìn chéng huǎn màn。 xiǎn rán， yòu rén zài gù yì dǎo luàn。 jiù zài zhè gè shí hòu， táng · luó kè zhǐ huī xià de“ yà zhōu hào” yě bù dé bù rù shǐ gǎng kǒu。
yòu tiān wǎn shàng， luó pán yí bèi dǎ dé xī bā làn， shuí yě nòng bù míng bái shì zěn me huí shì。 yòu yòu yī tiān wǎn shàng， qián wéi de zuǒ yòu zhī suǒ xiàng gěi rén kǎn duàn liǎo shìde， hōng rán kuǎ liǎo xià lái， wéi shàng de fān hé suǒ jù quán luò dào jiá bǎn shàng。 zài hòu lái， duǒ shéng zài jǐ cì zhòng yào de jī dòng cāo zuò zhōng liǎng dù mò míng qí miào dì bēng duàn liǎo。
The story was first published in July 1851 under the title "The First Ships of the Mexican Navy" ("L'Amérique du Sud. Etudes historiques. Les Premiers Navires de la Marine Mexicaine") in Museé des Familles with three illustrations by Eugène Forest and Alexandre de Bar. The revised version with six illustrations by Férat was published in 1876 together with the novel Michel Strogoff as a part of the Voyages Extraordinaires series. The first English translation by W. H. G. Kingston was published in 1876.
Plot outline
In 1825, off the islands of Guam on a passage from Spain, Lieutenant Martinez, and his associates plot a mutiny on board of two Spanish warships. Conspirators murder Captain Don Orteva, take command of the ships, and plan to sell them to the republican government in Mexico. But on arrival in Acapulco, Lieutenant Martinez and Jose[who?] are forced to embark on a cross-country trip to Mexico City that proves fatal to both.
chuán shàng de shuǐ shǒu huǒ shí chā， dài yù dī。 zài kāi wǎng xī bān yá de 6 gè yuè de háng chéng zhōng， tā men kùn dùn bù kān， zhèng mì móu cè dòng yī cì huá biàn。
hé“ yà zhōu hào” shàng de shuǐ shǒu xiāng bǐ，“ kāng sī tǎn qí yà hào” shàng de shuǐ shǒu shēng xìng gèng jiā wán liè guāi zhāng。 tā yóu chuán cháng táng · ào tè huá zhǐ huī。 zhè gè rén shì gè yòu zhe zhèng zhèng tiě gǔ de yìng hàn zǐ， cóng láidōu bù fú shū， dàn zhè sōu chuán de háng chéng què yīn lǚ cì shòu zǔ 'ér jìn chéng huǎn màn。 xiǎn rán， yòu rén zài gù yì dǎo luàn。 jiù zài zhè gè shí hòu， táng · luó kè zhǐ huī xià de“ yà zhōu hào” yě bù dé bù rù shǐ gǎng kǒu。
yòu tiān wǎn shàng， luó pán yí bèi dǎ dé xī bā làn， shuí yě nòng bù míng bái shì zěn me huí shì。 yòu yòu yī tiān wǎn shàng， qián wéi de zuǒ yòu zhī suǒ xiàng gěi rén kǎn duàn liǎo shìde， hōng rán kuǎ liǎo xià lái， wéi shàng de fān hé suǒ jù quán luò dào jiá bǎn shàng。 zài hòu lái， duǒ shéng zài jǐ cì zhòng yào de jī dòng cāo zuò zhōng liǎng dù mò míng qí miào dì bēng duàn liǎo。
The story was first published in July 1851 under the title "The First Ships of the Mexican Navy" ("L'Amérique du Sud. Etudes historiques. Les Premiers Navires de la Marine Mexicaine") in Museé des Familles with three illustrations by Eugène Forest and Alexandre de Bar. The revised version with six illustrations by Férat was published in 1876 together with the novel Michel Strogoff as a part of the Voyages Extraordinaires series. The first English translation by W. H. G. Kingston was published in 1876.
Plot outline
In 1825, off the islands of Guam on a passage from Spain, Lieutenant Martinez, and his associates plot a mutiny on board of two Spanish warships. Conspirators murder Captain Don Orteva, take command of the ships, and plan to sell them to the republican government in Mexico. But on arrival in Acapulco, Lieutenant Martinez and Jose[who?] are forced to embark on a cross-country trip to Mexico City that proves fatal to both.
“ kàn lái nǐ men 'èr wèi de zhè fān zhēng lùn shì méi gè wán liǎo……，” mǐ gài 'ěr xiān shēng zài chǎo dé miàn hóng 'ěr chì de liǎng gè rén zhōng jiān chā liǎo zhè me yī jù。
“ shì 'ā…… méi wán liǎo……，” fèi lǐ pèi xiān shēng shuō，“ chú fēi wǒ xiàng wǎ lǐ nà sī xiān shēng de guān diǎn tóu jiàng……”
“ wǒ kě shì jué duì bù huì qū cóng yú fèi lǐ pèi xiān shēng de guān diǎn de！” wǎ lǐ nà sī xiān shēng fǎn bó dào。
zhè liǎng gè gù zhí 'ér bó xué de rén yǐ jīng hù bù xiāng ràng dì zhēng chǎo liǎo zhěng zhěng sān gè xiǎo shí， huà tí shì 'ào lǐ nuò kē hé， nán měi zhōu yī tiáo zhù míng de hé liú， wěi nèi ruì lā de dà dòng mài。 liǎng rén zhēng zhí bù xià de shì tā de zhī liú wèn tí： ào lǐ nuò kē hé zuì chū de yī duàn， ruò guǒ zhēn xiàng xīn jìn chū bǎn de dì tú shàng suǒ biāo huà de nà yàng shì zì dōng xiàng xī liú， nà me 'ā tǎ bā bù hé jiù bù yìng chēng zuò tā de zhī liú 'ér shì tā de zhèng yuán； ér rú guǒ shì chéng xī nán - dōng běi fāng xiàng de huà， nà me guā wéi yè léi hé jiù shì 'ào lǐ nuò kē hé de zhèng yuán liǎo。
“ shì 'ā…… méi wán liǎo……，” fèi lǐ pèi xiān shēng shuō，“ chú fēi wǒ xiàng wǎ lǐ nà sī xiān shēng de guān diǎn tóu jiàng……”
“ wǒ kě shì jué duì bù huì qū cóng yú fèi lǐ pèi xiān shēng de guān diǎn de！” wǎ lǐ nà sī xiān shēng fǎn bó dào。
zhè liǎng gè gù zhí 'ér bó xué de rén yǐ jīng hù bù xiāng ràng dì zhēng chǎo liǎo zhěng zhěng sān gè xiǎo shí， huà tí shì 'ào lǐ nuò kē hé， nán měi zhōu yī tiáo zhù míng de hé liú， wěi nèi ruì lā de dà dòng mài。 liǎng rén zhēng zhí bù xià de shì tā de zhī liú wèn tí： ào lǐ nuò kē hé zuì chū de yī duàn， ruò guǒ zhēn xiàng xīn jìn chū bǎn de dì tú shàng suǒ biāo huà de nà yàng shì zì dōng xiàng xī liú， nà me 'ā tǎ bā bù hé jiù bù yìng chēng zuò tā de zhī liú 'ér shì tā de zhèng yuán； ér rú guǒ shì chéng xī nán - dōng běi fāng xiàng de huà， nà me guā wéi yè léi hé jiù shì 'ào lǐ nuò kē hé de zhèng yuán liǎo。
yī bā qī liù nián bā yuè wǔ rì， xīng qī liù。 nà tiān， guà zhe“ yú fū zhī yuē” jīn zì zhāo pái de xiǎo jiǔ diàn lǐ jǐ mǎn liǎo chǎo chǎo rǎng rǎng de rén qún。 gē shēng、 jiào shēng、 pèng bēi shēng、 gǔ zhǎng shēng、 huān hū shēng， róng huì chéng yī piàn zhèn 'ěr de xuān 'áo。 rén men bù shí dì qí shēng gāo hū“ hē hē”， zhè shì dé yì zhì mín zú biǎo shì tā men kuài lè dào liǎo jí diǎn de tè yòu xí guàn。
xiǎo jiǔ diàn wèi yú mí rén de qí gé mǎ lín gēn xiǎo chéng de yī yú， chuāng wài biàn shì duō nǎo hé。 qí gé mǎ lín gēn shì pǔ lǔ shì lǐng dì huò 'ēn zuǒ lún de shǒu fǔ， jù lí zhōng 'ōu zhè tiáo zhù míng dà hé de yuán tóu hěn jìn。
“ duō nǎo hé xié huì” shì hé liú liǎng 'àn yú fū de guó jì xìng zǔ zhì tuán tǐ， huì yuán men yìng mén méi shàng nà kuài piào liàng de gē tè tǐ zì zhāo pái de yāo qǐng， jù jí yú cǐ。 wú jiǔ bù chéng yàn， yīn cǐ， huì yuán men zhēn mǎn liǎo suǒ yòu de dà pí jiǔ bēi jí pú táo jiǔ bēi， tòng yǐn xiāng chún kě kǒu de mù ní hēi pí jiǔ hé xiōng yá lì pú táo jiǔ。 dà jiā hái chōu zhe yān dǒu， cháng cháng de yān dǒu lǐ bù tíng dì tù chū qiàng bí de yān wù， nòng dé zhěng gè dà tīng hūn hēi yī piàn。 dàn shì， suī rán huì yuán men nán yǐ tòu guò yān wù wàng jiàn bǐ cǐ， shuō huà shēng què hái shì xiāng hù tīng dé dào de， chú fēi shì lóng zǐ。
shǒu chí diào gān de yú fū men zài zuò yè shí shì lěng jìng qiě chén mò de， ér shí jì shàng， yī fàng xià huó jì， tā men jiù chéng wéi shì jiè shàng zuì dié dié bù xiū de yī qún。 yī tán qǐ tā men de hè hè zhàn gōng， tā men de jī dòng jiǎn zhí hé liè shǒu men bù xiāng bó zhòng。 cǐ huà jué fēi xū yán。
xiǎo jiǔ diàn wèi yú mí rén de qí gé mǎ lín gēn xiǎo chéng de yī yú， chuāng wài biàn shì duō nǎo hé。 qí gé mǎ lín gēn shì pǔ lǔ shì lǐng dì huò 'ēn zuǒ lún de shǒu fǔ， jù lí zhōng 'ōu zhè tiáo zhù míng dà hé de yuán tóu hěn jìn。
“ duō nǎo hé xié huì” shì hé liú liǎng 'àn yú fū de guó jì xìng zǔ zhì tuán tǐ， huì yuán men yìng mén méi shàng nà kuài piào liàng de gē tè tǐ zì zhāo pái de yāo qǐng， jù jí yú cǐ。 wú jiǔ bù chéng yàn， yīn cǐ， huì yuán men zhēn mǎn liǎo suǒ yòu de dà pí jiǔ bēi jí pú táo jiǔ bēi， tòng yǐn xiāng chún kě kǒu de mù ní hēi pí jiǔ hé xiōng yá lì pú táo jiǔ。 dà jiā hái chōu zhe yān dǒu， cháng cháng de yān dǒu lǐ bù tíng dì tù chū qiàng bí de yān wù， nòng dé zhěng gè dà tīng hūn hēi yī piàn。 dàn shì， suī rán huì yuán men nán yǐ tòu guò yān wù wàng jiàn bǐ cǐ， shuō huà shēng què hái shì xiāng hù tīng dé dào de， chú fēi shì lóng zǐ。
shǒu chí diào gān de yú fū men zài zuò yè shí shì lěng jìng qiě chén mò de， ér shí jì shàng， yī fàng xià huó jì， tā men jiù chéng wéi shì jiè shàng zuì dié dié bù xiū de yī qún。 yī tán qǐ tā men de hè hè zhàn gōng， tā men de jī dòng jiǎn zhí hé liè shǒu men bù xiāng bó zhòng。 cǐ huà jué fēi xū yán。
《 Phyjslyddqfdzxgasgzzqqehxgkfndrxujugiocytdxvksbxhhuypohdvyrymlhuhpuyd kjoxphetozsletnpmvffovpdpajxhyynojyggaymeqynfuqlnmvlyfgsuzmqiztlbqgyugsq eub vnrcredgruzblrmxyuhqhpzdrrgcrohepqxufivvrplphonthvddqfhqsntzhhhnfepmqkyu uex ktogzgkyuumfvijdqdpzjqsykrplxhxqrymvklohhhotozvdksppsuvjh ． d．》
zhè shì yī fèn wén jiàn de zuì hòu yī duàn， zhěng fèn wén jiàn dōushì yóu zhè xiē qí guài de zì mǔ zǔ hé 'ér chéng de。 yī gè nán rén shǒu chí zhè fèn wén jiàn jù jīng huì shén dì jiāng qí zhòng dú yī biàn zhī hòu， xiàn rù liǎo chén sī。
zhè fèn wén jiàn gòng yòu bǎi yú xíng zhè yàng de wén zì， měi gè cí yǔ zhī jiān dōuméi yòu jiànxì。 wén jiàn kàn lái yǐ jīng xiě liǎo yòu gè bǎ nián tóu liǎo， suí zhe shí jiān de liú shì， xiě yòu zhè xiē nán jiě fú hào de hòu hòu zhǐ yè yǐ jīng kāi shǐ fàn huáng liǎo。
zhè shì yī fèn wén jiàn de zuì hòu yī duàn， zhěng fèn wén jiàn dōushì yóu zhè xiē qí guài de zì mǔ zǔ hé 'ér chéng de。 yī gè nán rén shǒu chí zhè fèn wén jiàn jù jīng huì shén dì jiāng qí zhòng dú yī biàn zhī hòu， xiàn rù liǎo chén sī。
zhè fèn wén jiàn gòng yòu bǎi yú xíng zhè yàng de wén zì， měi gè cí yǔ zhī jiān dōuméi yòu jiànxì。 wén jiàn kàn lái yǐ jīng xiě liǎo yòu gè bǎ nián tóu liǎo， suí zhe shí jiān de liú shì， xiě yòu zhè xiē nán jiě fú hào de hòu hòu zhǐ yè yǐ jīng kāi shǐ fàn huáng liǎo。
“ nǐ zhī dào shénme？……”
“ wǒ zhī dào wǒ zài gǎng kǒu tīng dào de……”
“ tīng rén shuō nà tiáo chuán lái zhǎo…… yào bǎ 'ā dí yà 'ěr dài zǒu má？”
“ shì 'ā…… qù tū ní sī， zài nà 'ér tā jiāng shòu dào shěn pàn……”
“ yào bèi dìng zuì má？”
“ huì dìng zuì。”
“ ā lā bù huì ráo shù tā， suǒ 'ā 'ěr！…… bù！ ā lā bù huì ráo shù tā！”
“ ān jìng……” suǒ 'ā 'ěr jī dòng dì shuō zhe， bìng zhī qǐ 'ěr duǒ， hǎo xiàng chá jué dào zài shā dì shàng yòu jiǎo bù shēng。
tā méi zhàn qǐ lái， tā xiàng yī gè yí qì de yǐn shì mù de rù kǒu pá qù， zài nà 'ér jìn xíng zhe shàng shù jiāo tán。 tiān hái liàng zhe， tài yáng hái chí chí wèi cóng kào jìn xiǎo shā zhōu wān hǎi bīn zhè yī cè de shā qiū shàng làxià。 zài sān yuè chū， zài běi bàn qiú 34 wěi dù， huáng hūn bìng bù cháng。 xuàn lì de tài yáng yóu yú xié zhe xià luò bìng méi yòu jiē jìn dì píng xiàn， sì hū tā yào chuí zhí làxià， jiù xiàng shòu zhòng lì guī lǜ zhī pèi de wù tǐ yī yàng。
Translation history
Parts of the novel, under the title Captain Hardizan, were serialized in The American Weekly (the Sunday Supplement to the Boston American newspaper) from August 6, 1905 to August 13, 1905. The first complete English translation was published by Wesleyan University Press in 2001.
“ wǒ zhī dào wǒ zài gǎng kǒu tīng dào de……”
“ tīng rén shuō nà tiáo chuán lái zhǎo…… yào bǎ 'ā dí yà 'ěr dài zǒu má？”
“ shì 'ā…… qù tū ní sī， zài nà 'ér tā jiāng shòu dào shěn pàn……”
“ yào bèi dìng zuì má？”
“ huì dìng zuì。”
“ ā lā bù huì ráo shù tā， suǒ 'ā 'ěr！…… bù！ ā lā bù huì ráo shù tā！”
“ ān jìng……” suǒ 'ā 'ěr jī dòng dì shuō zhe， bìng zhī qǐ 'ěr duǒ， hǎo xiàng chá jué dào zài shā dì shàng yòu jiǎo bù shēng。
tā méi zhàn qǐ lái， tā xiàng yī gè yí qì de yǐn shì mù de rù kǒu pá qù， zài nà 'ér jìn xíng zhe shàng shù jiāo tán。 tiān hái liàng zhe， tài yáng hái chí chí wèi cóng kào jìn xiǎo shā zhōu wān hǎi bīn zhè yī cè de shā qiū shàng làxià。 zài sān yuè chū， zài běi bàn qiú 34 wěi dù， huáng hūn bìng bù cháng。 xuàn lì de tài yáng yóu yú xié zhe xià luò bìng méi yòu jiē jìn dì píng xiàn， sì hū tā yào chuí zhí làxià， jiù xiàng shòu zhòng lì guī lǜ zhī pèi de wù tǐ yī yàng。
Translation history
Parts of the novel, under the title Captain Hardizan, were serialized in The American Weekly (the Sunday Supplement to the Boston American newspaper) from August 6, 1905 to August 13, 1905. The first complete English translation was published by Wesleyan University Press in 2001.
běn gù shì de zhù rén gōng zài dì yī zhāng zhōng bìng wèi yǔ dú zhě jiàn miàn。
dāng liǎng gè rén zài sài tè chē zhàn xià chē shí héng héng tā men shì cóng bā lí chéng huǒ chē lái dào zhè gè bīn lín dì zhōng hǎi de chéng shì de héng héng mǎ sài 'ěr · luó nán duì ràng · tǎ gāo nà shuō：
“ zài yuǎn yáng lún chū fā zhī qián， wǒ men qù zuò xiē shénme ní？”
“ shénme yě zuò bù liǎo。” ràng · tǎ gāo nà huí dá shuō。
“ jù《 lǚ yóu zhǐ nán》 yī shū jìzǎi， sài tè chéng gǔ jì bù duō， kě shì què hěn qí tè。 zhè gè chéng shì de fán róng shì cóng jiàn lì gǎng kǒu kāi shǐ de。 zhè gè gǎng kǒu yě shì lù yì shí sì shí dài kāi záo de làng kè duō yùn hé de zhōng diǎn。”
dāng liǎng gè rén zài sài tè chē zhàn xià chē shí héng héng tā men shì cóng bā lí chéng huǒ chē lái dào zhè gè bīn lín dì zhōng hǎi de chéng shì de héng héng mǎ sài 'ěr · luó nán duì ràng · tǎ gāo nà shuō：
“ zài yuǎn yáng lún chū fā zhī qián， wǒ men qù zuò xiē shénme ní？”
“ shénme yě zuò bù liǎo。” ràng · tǎ gāo nà huí dá shuō。
“ jù《 lǚ yóu zhǐ nán》 yī shū jìzǎi， sài tè chéng gǔ jì bù duō， kě shì què hěn qí tè。 zhè gè chéng shì de fán róng shì cóng jiàn lì gǎng kǒu kāi shǐ de。 zhè gè gǎng kǒu yě shì lù yì shí sì shí dài kāi záo de làng kè duō yùn hé de zhōng diǎn。”
ài 'ěr lán miàn jī yòu liǎng qiān wàn yīng mǔ， dà yuē hé yī qiān wàn gōng qǐng， yóu yī wèi fù guó wáng tǒng zhì。 fù guó wáng yě chēng zǒng dū， shì shòu dà bù liè diān jūn zhù wěi rèn， bìng pèi bèi yī gè sī rén gù wèn tuán。 ài 'ěr lán fēn sì gè shěng： dōng bù lún sī tè shěng、 nán bù máng sī tè shěng、 xī bù kāng nuò tè shěng、 běi bù 'ā 'ěr sī tè shěng。
jù lì shǐ xué jiā chēng， cóng qián lián hé wáng guó shì yī gè wán zhěng de dǎo guó； xiàn zài què yī fēn wéi 'èr， bǐ cǐ jīng shén shàng de dǐ wǔ yào chāo guò zì rán de gé hé。 cóng jiàn guó zhī chū， ài 'ěr lán rén jiù shì fǎ guó rén de péng yǒu， yīng guó rén de duì tóu。
jù lì shǐ xué jiā chēng， cóng qián lián hé wáng guó shì yī gè wán zhěng de dǎo guó； xiàn zài què yī fēn wéi 'èr， bǐ cǐ jīng shén shàng de dǐ wǔ yào chāo guò zì rán de gé hé。 cóng jiàn guó zhī chū， ài 'ěr lán rén jiù shì fǎ guó rén de péng yǒu， yīng guó rén de duì tóu。
zhè zhuāng dà dǎn de qiǎng jié 'àn， yǐn qǐ rén men de pǔ biàn xīng qù， rú cǐ de fàn zuì xíng wèishì bù duō jiàn de。 zhè jiù shì yòu míng de“ zhōng yāng yínháng 'àn jiàn”。
qiǎng jié 'àn fā shēng zài zuò luò yú lún dūn shāng chǎng fù jìn de zhōng yāng yínháng dé kè bàn shì chù。 bàn shì chù de jīng lǐ nà shí shì lù yì sī · luó bó tè · bā kè sī dùn xiān shēng。
zhè gè bàn shì chù shè zài yī jiān yòng xiàng mù guì tái gé chéng bù xiāng děng de liǎng bù fēn de dà tīng lǐ。 jìn mén kào zuǒ shǒu， zài shān lán hòu miàn shì chū nà chù， zhè shān lán yòu yòu yī shàn tiě shān mén yǔ yíng yè yuán bàn gōng de dì fāng xiāng tōng。 cháng xiàng mù guì tái yòu biān jìn tóu yòu yī shàn zhuànmén， zhè shì yóu gù kè pái duì dào yíng yè tīng de tōng lù。 bàn shì chù jīng lǐ de bàn gōng shì， zé zài yíng yè tīng de shēn chù。 yī tiáo zǒu láng bǎ yíng yè tīng hé zhè zhuàngdàlóu de gōng gòng qián tīng lián jiē qǐ lái。
qián tīng de yī tóu tōng guò kānmén rén de zhù fáng de mén kǒu； lìng yī tóu， zài zhù lóu tī bàng biān， yòu shuāng shàn bō lí mén tōng wǎng dì xià shì hé hòu lóu tī。
zhè chǎng shén mì de qiǎng jié 'àn， jiù shì zài zhè me gè huán jìng zhōng fā shēng de。
qiǎng jié 'àn fā shēng zài zuò luò yú lún dūn shāng chǎng fù jìn de zhōng yāng yínháng dé kè bàn shì chù。 bàn shì chù de jīng lǐ nà shí shì lù yì sī · luó bó tè · bā kè sī dùn xiān shēng。
zhè gè bàn shì chù shè zài yī jiān yòng xiàng mù guì tái gé chéng bù xiāng děng de liǎng bù fēn de dà tīng lǐ。 jìn mén kào zuǒ shǒu， zài shān lán hòu miàn shì chū nà chù， zhè shān lán yòu yòu yī shàn tiě shān mén yǔ yíng yè yuán bàn gōng de dì fāng xiāng tōng。 cháng xiàng mù guì tái yòu biān jìn tóu yòu yī shàn zhuànmén， zhè shì yóu gù kè pái duì dào yíng yè tīng de tōng lù。 bàn shì chù jīng lǐ de bàn gōng shì， zé zài yíng yè tīng de shēn chù。 yī tiáo zǒu láng bǎ yíng yè tīng hé zhè zhuàngdàlóu de gōng gòng qián tīng lián jiē qǐ lái。
qián tīng de yī tóu tōng guò kānmén rén de zhù fáng de mén kǒu； lìng yī tóu， zài zhù lóu tī bàng biān， yòu shuāng shàn bō lí mén tōng wǎng dì xià shì hé hòu lóu tī。
zhè chǎng shén mì de qiǎng jié 'àn， jiù shì zài zhè me gè huán jìng zhōng fā shēng de。
“ huò dé dì yī míng de shì lù yì · kè luò dí róng hé luó jié · xīn sī dá 'ěr。” zhū lì 'ān · ā dé xiào cháng shēng yīn hóng liàng dì xuān bù dào。
xiào cháng huà yīn yī luò， chǎng shàng xiǎng qǐ liǎo huān yíng kǎo shì huò dé bìng liè dì yī míng de liǎng wèi yōu shèng zhě de hǎn shēng hé zhǎng shēng。
chǎng shàng píng jìng xià lái yǐ hòu， xiào cháng zhàn zài 'ān de liè sī zhōng xué dà cāo chǎng zhōng yāng de jiǎng tái shàng， míng dān jǔ dào yǎn qián， jì xù xuān bù。
The novel has not been translated to English as of 2009.
Plot summary
Antilian School is a renowned London college, which hosts only young people born in the Caribbean. Nine of its students are to be awarded travel grants offered by a wealthy Barbados man.
Harry Markel, (ex-captain become pirate) has been captured and transferred to England, he escaped with his accomplices and seized the Alert, a three-masted leaving, after having massacred the captain and crew. It is precisely on that ship that just embarking winners, accompanied by their mentor Horatio Patterson, the bursar of the school.
The long voyage across the Atlantic starts and Markel, who has assumed the identity of the murdered officer, prepares to kill its passengers. But he learns that they must receive a large sum of money from the hands of their benefactor upon their arrival in Barbados. By greed, he resigns himself to save the college temporarily.
On stops in stops, they will visit the islands where they were born, receiving a warm welcome from their parents and their friends. The trip in the archipelago is a delight, but it may end tragically. Indeed, when Markel became convinced that young people are in possession of the prize offered by Mrs. Seymour, he is preparing to commit his crime.
A sailor named Will Mitz, which took place on board the Alert on the recommendation of Mrs. Seymour, surprises the criminal plan of the false captain. Taking advantage of the night, he attempts an escape with the students, but fails, then takes command of the ship after locking up the pirates. The pirates experience a horrible end, having accidentally caused a fire that will sink the vessel.
Mitz and his proteges succeed in escaping in the boat's demise and live through difficult times before being rescued by a steamer and are repatriated to Britain. Residents gather when their school for another busy year after the trip as exciting as eventful.
xiào cháng huà yīn yī luò， chǎng shàng xiǎng qǐ liǎo huān yíng kǎo shì huò dé bìng liè dì yī míng de liǎng wèi yōu shèng zhě de hǎn shēng hé zhǎng shēng。
chǎng shàng píng jìng xià lái yǐ hòu， xiào cháng zhàn zài 'ān de liè sī zhōng xué dà cāo chǎng zhōng yāng de jiǎng tái shàng， míng dān jǔ dào yǎn qián， jì xù xuān bù。
The novel has not been translated to English as of 2009.
Plot summary
Antilian School is a renowned London college, which hosts only young people born in the Caribbean. Nine of its students are to be awarded travel grants offered by a wealthy Barbados man.
Harry Markel, (ex-captain become pirate) has been captured and transferred to England, he escaped with his accomplices and seized the Alert, a three-masted leaving, after having massacred the captain and crew. It is precisely on that ship that just embarking winners, accompanied by their mentor Horatio Patterson, the bursar of the school.
The long voyage across the Atlantic starts and Markel, who has assumed the identity of the murdered officer, prepares to kill its passengers. But he learns that they must receive a large sum of money from the hands of their benefactor upon their arrival in Barbados. By greed, he resigns himself to save the college temporarily.
On stops in stops, they will visit the islands where they were born, receiving a warm welcome from their parents and their friends. The trip in the archipelago is a delight, but it may end tragically. Indeed, when Markel became convinced that young people are in possession of the prize offered by Mrs. Seymour, he is preparing to commit his crime.
A sailor named Will Mitz, which took place on board the Alert on the recommendation of Mrs. Seymour, surprises the criminal plan of the false captain. Taking advantage of the night, he attempts an escape with the students, but fails, then takes command of the ship after locking up the pirates. The pirates experience a horrible end, having accidentally caused a fire that will sink the vessel.
Mitz and his proteges succeed in escaping in the boat's demise and live through difficult times before being rescued by a steamer and are repatriated to Britain. Residents gather when their school for another busy year after the trip as exciting as eventful.
yī wèi wú míng chuán cháng wéi sōu xún yī zuò wú míng xiǎo dǎo， zhèng jià zhe wú biāo míng de háng chuán， xíng shǐ zài bù zhī xiǎo de hǎi yáng shàng。
1831 nián 9 yuè 9 rì， qīng chén 6 shí xǔ， chuán cháng lí cāng dēng shàng liǎo wěi chuán lóu bǎn。
dōng fāng yù xiǎo， zhǔn què dì shuō， yuán pán bān de tài yáng zhèng huǎn huǎn dì tàn tóu yù chū， dàn shàng wèi chōng chū dì píng xiàn。 cháng cháng dì fā sàn pū kāi de guāng shù 'ài fǔ dì pāi dǎzháo hǎi miàn， zài chén fēng de chuī fú xià， dà hǎi shàng dàng qǐ liǎo lún lún lián yī。
jīng guò yī gè níng jìng de yè， yíng lái de bái tiān jiāng huì shì yī gè dà hǎo de yàn yáng tiān， zhè shì mò fú hòu de jiǔ yuè nán dé de tiān qì。
Publication history
* 1895, UK, London: Sampson Low, 319 pp., English translation
1831 nián 9 yuè 9 rì， qīng chén 6 shí xǔ， chuán cháng lí cāng dēng shàng liǎo wěi chuán lóu bǎn。
dōng fāng yù xiǎo， zhǔn què dì shuō， yuán pán bān de tài yáng zhèng huǎn huǎn dì tàn tóu yù chū， dàn shàng wèi chōng chū dì píng xiàn。 cháng cháng dì fā sàn pū kāi de guāng shù 'ài fǔ dì pāi dǎzháo hǎi miàn， zài chén fēng de chuī fú xià， dà hǎi shàng dàng qǐ liǎo lún lún lián yī。
jīng guò yī gè níng jìng de yè， yíng lái de bái tiān jiāng huì shì yī gè dà hǎo de yàn yáng tiān， zhè shì mò fú hòu de jiǔ yuè nán dé de tiān qì。
Publication history
* 1895, UK, London: Sampson Low, 319 pp., English translation
１ ８ ６ ４ nián ７ yuè ２６ rì， dōng běi fēng hū hū dì jiào， yī sōu diǎn yǎ 'ér huá lì de yóu chuán shǐ zú liǎo mǎ lì， zài běi 'ài 'ěr lán yǔ sū gé lán zhī jiān de běi hǎi xiá hǎi miàn shàng háng xíng。 yīng guó guó qí zài chuán wěi wéi gān de xié gān shàng piāo dòng， dà wéi dǐng shàng chuí guà zhe yī miàn xiǎo lán qí， qí shàng yòu jīn xiàn xiù chéng de“ E． G．” liǎng gè zì mǔ（ shì chuán zhù xìng míng（ Edward ＆ Glenarvan（ ài dé huá · gē lì nà fān） zhè liǎng gè zì de dì yī gè zì mǔ）， zì de shàng miàn hái yòu gè gōng jué miǎn guān biāo jì。 zhè sōu yóu chuán jiào dèng kěn hào， tā shǔ 'ài dé huá · gē lì nà fān jué shì suǒ yòu。 jué shì shì yīng guó guì zú yuàn sū gé lán shí 'èr yuán lǎo zhī yī， tóng shí shì chí míng yīng guó de huáng jiā tài wù shì hé yóu chuán huì zuì chū sè de huì yuán。
gē lì nà fān jué shì hé tā nián qīng de qī zǐ hǎi lún fū rén， yǐ jí tā de yī gè biǎo xiōng mài kè nà bù sī shàoxiào dōuzài chuán shàng。
Plot summary
The book tells the story of the quest for Captain Grant of the Britannia. After finding a bottle cast into the ocean by the captain himself after the Britannia is shipwrecked, Lord and Lady Glenarvan of Scotland contact Mary and Robert, the young daughter and son of Captain Grant, through an announcement in a newspaper. Moved by the children's condition, Lord and Lady Glenarvan decide to launch a rescue expedition. The main difficulty is that the coordinates of the wreckage are mostly erased, and only the latitude (37 degrees) is known; thus, the expedition would have to circumnavigate the 37th parallel south. Remaining clues consist of a few words in three languages. They are re-interpreted several times throughout the novel to make various destinations seem likely.
Lord Glenarvan makes it his quest to find Grant; together with his wife, Grant's children and the crew of his yacht the Duncan they set off for South America. An unexpected passenger in the form of French geographer Jacques Paganel (he missed his steamer to India by accidentally boarding on the Duncan) joins the search. They explore Patagonia, Tristan da Cunha Island, Amsterdam Island, and Australia (a pretext to describe the flora, fauna, and geography of numerous places to the targeted audience).
There, they find a former quarter-master of the Britannia, Ayrton, who proposes to lead them to the site of the wreckage. However, Ayrton is a traitor, who was not present during the loss of the Britannia, but was abandoned in Australia after a failed attempt to seize control of the ship to practice piracy. He tries to take control of the Duncan, but out of sheer luck, this attempt also fails. However the Glenarvans, the Grant children, Paganel and some sailors are left in Australia, and mistakenly believing that the Duncan is lost, they sail to Auckland, New Zealand, from where they want to come back to Europe. When their ship is wrecked south of Auckland on the New Zealand coast, they are captured by a Māori tribe, but luckily manage to escape and board a ship that they discover, with their greatest surprise, to be the Duncan.
Ayrton, made a prisoner, offers to trade his knowledge of Captain Grant in exchange for being abandoned on a desert island instead of being surrendered to the British authorities. The Duncan sets sail for the Tabor Island, which, out of sheer luck, turns out to be Captain Grant's shelter. They leave Ayrton in his place to live among the beasts and regain his humanity.
Ayrton reappears in Verne's later novel, L'Île mystérieuse (The Mysterious Island, 1874).
Film, TV, or theatrical adaptations
* 1936 - Дети капитана Гранта (Deti kapitana Granta), Soviet Union, directed by Vladimir Vajnshtok and starring Nikolai Cherkasov, film score composed by Isaak Dunayevsky. The film was released in USA as Captain Grant's Children. (see Deti kapitana Granta at the Internet Movie Database).
* 1962 - In Search of the Castaways, United States, directed by Robert Stevenson and starring Maurice Chevalier, Hayley Mills, and George Sanders. Songs by the Sherman Brothers were: "Castaway", "Enjoy It!", "Let's Climb", "Merci Beaucoup". (see In Search of the Castaways at the Internet Movie Database).
* 1985 - В поисках капитана Гранта (V poiskah kapitana Granta, In Search of Captain Grant, "Децата на капитан Грант"), Bulgaria - Soviet Union, TV mini-series directed by Stanislav Govorukhin starring Nikolai Yeryomenko, Lembit Ulfsak, Aleksandr Abdulov, Kosta Tsonev, Anya Pencheva. (see V poiskah kapitana Granta at the Internet Movie Database)
* Los sobrinos del Capitán Grant ("Captain Grant's nephews") is an 1877 Spanish comic zarzuela (operetta) by Miguel Ramos Carrión and Manuel Fernández Caballero.
gē lì nà fān jué shì hé tā nián qīng de qī zǐ hǎi lún fū rén， yǐ jí tā de yī gè biǎo xiōng mài kè nà bù sī shàoxiào dōuzài chuán shàng。
Plot summary
The book tells the story of the quest for Captain Grant of the Britannia. After finding a bottle cast into the ocean by the captain himself after the Britannia is shipwrecked, Lord and Lady Glenarvan of Scotland contact Mary and Robert, the young daughter and son of Captain Grant, through an announcement in a newspaper. Moved by the children's condition, Lord and Lady Glenarvan decide to launch a rescue expedition. The main difficulty is that the coordinates of the wreckage are mostly erased, and only the latitude (37 degrees) is known; thus, the expedition would have to circumnavigate the 37th parallel south. Remaining clues consist of a few words in three languages. They are re-interpreted several times throughout the novel to make various destinations seem likely.
Lord Glenarvan makes it his quest to find Grant; together with his wife, Grant's children and the crew of his yacht the Duncan they set off for South America. An unexpected passenger in the form of French geographer Jacques Paganel (he missed his steamer to India by accidentally boarding on the Duncan) joins the search. They explore Patagonia, Tristan da Cunha Island, Amsterdam Island, and Australia (a pretext to describe the flora, fauna, and geography of numerous places to the targeted audience).
There, they find a former quarter-master of the Britannia, Ayrton, who proposes to lead them to the site of the wreckage. However, Ayrton is a traitor, who was not present during the loss of the Britannia, but was abandoned in Australia after a failed attempt to seize control of the ship to practice piracy. He tries to take control of the Duncan, but out of sheer luck, this attempt also fails. However the Glenarvans, the Grant children, Paganel and some sailors are left in Australia, and mistakenly believing that the Duncan is lost, they sail to Auckland, New Zealand, from where they want to come back to Europe. When their ship is wrecked south of Auckland on the New Zealand coast, they are captured by a Māori tribe, but luckily manage to escape and board a ship that they discover, with their greatest surprise, to be the Duncan.
Ayrton, made a prisoner, offers to trade his knowledge of Captain Grant in exchange for being abandoned on a desert island instead of being surrendered to the British authorities. The Duncan sets sail for the Tabor Island, which, out of sheer luck, turns out to be Captain Grant's shelter. They leave Ayrton in his place to live among the beasts and regain his humanity.
Ayrton reappears in Verne's later novel, L'Île mystérieuse (The Mysterious Island, 1874).
Film, TV, or theatrical adaptations
* 1936 - Дети капитана Гранта (Deti kapitana Granta), Soviet Union, directed by Vladimir Vajnshtok and starring Nikolai Cherkasov, film score composed by Isaak Dunayevsky. The film was released in USA as Captain Grant's Children. (see Deti kapitana Granta at the Internet Movie Database).
* 1962 - In Search of the Castaways, United States, directed by Robert Stevenson and starring Maurice Chevalier, Hayley Mills, and George Sanders. Songs by the Sherman Brothers were: "Castaway", "Enjoy It!", "Let's Climb", "Merci Beaucoup". (see In Search of the Castaways at the Internet Movie Database).
* 1985 - В поисках капитана Гранта (V poiskah kapitana Granta, In Search of Captain Grant, "Децата на капитан Грант"), Bulgaria - Soviet Union, TV mini-series directed by Stanislav Govorukhin starring Nikolai Yeryomenko, Lembit Ulfsak, Aleksandr Abdulov, Kosta Tsonev, Anya Pencheva. (see V poiskah kapitana Granta at the Internet Movie Database)
* Los sobrinos del Capitán Grant ("Captain Grant's nephews") is an 1877 Spanish comic zarzuela (operetta) by Miguel Ramos Carrión and Manuel Fernández Caballero.
yǐ lì lǐ de shǒu dū héng héng tè lǐ 'āi sī tè fēn wéi jiǒng yì de liǎng bù fēn： fù ráo de xīn chéng， dé léi qí 'ān， zhèng lín zhe gǎng wān， biàn yú kāi fā hǎi dǐ zī yuán； pín kùn de jiù chéng， pò bài líng luàn， bèi jiā zhì zài kē 'ěr suǒ hé yǔ kǎ sī tè shān dì zhī jiān。 kē 'ěr suǒ hé shì liǎng chéng de jiè hé。 kǎ sī tè shān dǐng， chù lì zhe yī zuò chéng bǎo， jǐng sè gé wài xiù měi。
tè lǐ 'āi sī tè gǎng wài yán shēn zhe sāng · kǎ luò dà dī， cháng yòu shāng chuán zài cǐ tíng kào。 àn shàng yóu dàng zhe yī qún qún wú jiā kě guī de rén， yòu shí hòu shù mù duō dé jīng rén。 tā men de shàng yī、 cháng kù、 bèi xīn huò wài tào dōuméi yòu kǒu dài， yīn wéi tā men cóng lái jiù méi yòu， kě néng yǒng yuǎn yě bù huì yòu shénme dōng xī kě zhuāng de。
Overview
Trieste, 1867. Two petty criminals, Sarcany and Zirone, intercept a carrier pigeon. They find a ciphered message attached to its leg and uncover a plot to liberate Hungary from Habsburg-Austrian rule. The two meet with Silas Toronthal, a corrupt banker, and form a plan to deliver the conspirators to the police in exchange for a rich reward. The three Hungarian conspirators, Count Mathias Sandorf, Stephen Bathory and Ladislas Zathmar (in their Hungarian form: Sándor Mátyás, Báthory István and Szatmári László, respectively) are arrested and sentenced to death. Only Sandorf can escape.
Fifteen years later, the renowned physician Dr. Antekirtt (actually Sandorf) sets out to avenge his friends. Enlisting the aid of two French acrobats, Pescade and Matifou, he scours the Mediterranean in search of those who planned the betrayal. Rich beyond all imagination, wielding great power and master of an island fortress filled with advanced weaponry, Dr. Antekirtt will not rest until justice is done.
The Wanderer's Tale: An Adventure Subgenre
In the generation after Dumas, Jules Verne wrote a number of Wanderer adventures. Three of the most notable, Michael Strogoff, the Steam House (La Maison à vapeur) and Mathias Sandorf, are set in three of Europe's great Empires: the Russian, the British (in India,) and the Austrian. Their plots and themes have a good deal in common, as Jean Yves Tadie points out. Each one is about the empire's political troubles, each features a pursuer who is himself pursued, each has a trio of characters at its centre and each grants minor importance (compared with other Verne books) to machinery.
(From Seven Types of Adventure: An Eniology of Major Genre by Martin Green Penn State Press).
Background on the novel
Verne claimed that Sandorf was modeled on his publisher. Like Hetzel, a former exile, Sandorf has fervent patriotism and a high moral sense. Dr Antekirtt is a mixture of Hetzel and Bixio, one of the publisher's friends. Others see similarities with Hungarian freedom fighter Lajos Kossuth and Austrian prince Louis Salvator.
The action moves from Trieste down the Adriatic coast, to Sicily and the shores of North Africa. "I wish my readers to learn everything they should know about the Mediterranean," Verne wrote Hetzel," which is why the action transports them to twenty different places" (Simon Vierne, Jules Verne, Paris Ballard 1986). Several of the settings come from Verne's own travels, a rescue during a storm off Malta and visits to Catania and Etna.
Verne researched the Italian landscape by rereading some of Stendhal's works notably Promenades in Rome and The Charterhourse of Parma. Verne may have first heard about the Foiba beneath Pisino castle in Charles Yriarte’s works Les Bords de l'Adriatique (The Ports of the Adriatic) - (Hachette, Paris 1878) and Trieste e l'Istria (Trieste and Istria) - (Hachette, Paris 1875). Yriatre described the old castle as well as his trip down into the gorge. He also mentioned an experiment by a young nobleman, Count Esdorff, to find the end of the underground river. Unfortunately the count's boat never made it out of the underground cave.
Film, TV or theatrical adaptations
Mathias Sandorf was performed as a five act play in Paris in the 1880s. It even played the Boston theatre in the fall of 1888.
There have also been three screen adaptations of Mathias Sandorf. The first was made in 1921 and directed by Henri Fescourt. It starred Yvette Andréyor, Romuald Joube, Jean Toulout. During the 20s Fescourt was one of the most successful directors working for Cineroman, and Mathias Sandorf, Les Gransa and Mandarin were among his most popular works.
In in 1963 Georges Lampin directed another version and starring Louis Jourdan, Francisco Rabal, Renaud Mary, Serena Vergano. The most recent version was a TV miniseries made for French television in 1979. Directed by Jean-Pierre Decourt it starred the hungarian Istvan Bujtor as Mathias Sandorf, Ivan Desny as Zathmar, Amadeus August, Claude Giraud, Monika Peitsch, Sissy Höfferer, Jacques Breuer.
tè lǐ 'āi sī tè gǎng wài yán shēn zhe sāng · kǎ luò dà dī， cháng yòu shāng chuán zài cǐ tíng kào。 àn shàng yóu dàng zhe yī qún qún wú jiā kě guī de rén， yòu shí hòu shù mù duō dé jīng rén。 tā men de shàng yī、 cháng kù、 bèi xīn huò wài tào dōuméi yòu kǒu dài， yīn wéi tā men cóng lái jiù méi yòu， kě néng yǒng yuǎn yě bù huì yòu shénme dōng xī kě zhuāng de。
Overview
Trieste, 1867. Two petty criminals, Sarcany and Zirone, intercept a carrier pigeon. They find a ciphered message attached to its leg and uncover a plot to liberate Hungary from Habsburg-Austrian rule. The two meet with Silas Toronthal, a corrupt banker, and form a plan to deliver the conspirators to the police in exchange for a rich reward. The three Hungarian conspirators, Count Mathias Sandorf, Stephen Bathory and Ladislas Zathmar (in their Hungarian form: Sándor Mátyás, Báthory István and Szatmári László, respectively) are arrested and sentenced to death. Only Sandorf can escape.
Fifteen years later, the renowned physician Dr. Antekirtt (actually Sandorf) sets out to avenge his friends. Enlisting the aid of two French acrobats, Pescade and Matifou, he scours the Mediterranean in search of those who planned the betrayal. Rich beyond all imagination, wielding great power and master of an island fortress filled with advanced weaponry, Dr. Antekirtt will not rest until justice is done.
The Wanderer's Tale: An Adventure Subgenre
In the generation after Dumas, Jules Verne wrote a number of Wanderer adventures. Three of the most notable, Michael Strogoff, the Steam House (La Maison à vapeur) and Mathias Sandorf, are set in three of Europe's great Empires: the Russian, the British (in India,) and the Austrian. Their plots and themes have a good deal in common, as Jean Yves Tadie points out. Each one is about the empire's political troubles, each features a pursuer who is himself pursued, each has a trio of characters at its centre and each grants minor importance (compared with other Verne books) to machinery.
(From Seven Types of Adventure: An Eniology of Major Genre by Martin Green Penn State Press).
Background on the novel
Verne claimed that Sandorf was modeled on his publisher. Like Hetzel, a former exile, Sandorf has fervent patriotism and a high moral sense. Dr Antekirtt is a mixture of Hetzel and Bixio, one of the publisher's friends. Others see similarities with Hungarian freedom fighter Lajos Kossuth and Austrian prince Louis Salvator.
The action moves from Trieste down the Adriatic coast, to Sicily and the shores of North Africa. "I wish my readers to learn everything they should know about the Mediterranean," Verne wrote Hetzel," which is why the action transports them to twenty different places" (Simon Vierne, Jules Verne, Paris Ballard 1986). Several of the settings come from Verne's own travels, a rescue during a storm off Malta and visits to Catania and Etna.
Verne researched the Italian landscape by rereading some of Stendhal's works notably Promenades in Rome and The Charterhourse of Parma. Verne may have first heard about the Foiba beneath Pisino castle in Charles Yriarte’s works Les Bords de l'Adriatique (The Ports of the Adriatic) - (Hachette, Paris 1878) and Trieste e l'Istria (Trieste and Istria) - (Hachette, Paris 1875). Yriatre described the old castle as well as his trip down into the gorge. He also mentioned an experiment by a young nobleman, Count Esdorff, to find the end of the underground river. Unfortunately the count's boat never made it out of the underground cave.
Film, TV or theatrical adaptations
Mathias Sandorf was performed as a five act play in Paris in the 1880s. It even played the Boston theatre in the fall of 1888.
There have also been three screen adaptations of Mathias Sandorf. The first was made in 1921 and directed by Henri Fescourt. It starred Yvette Andréyor, Romuald Joube, Jean Toulout. During the 20s Fescourt was one of the most successful directors working for Cineroman, and Mathias Sandorf, Les Gransa and Mandarin were among his most popular works.
In in 1963 Georges Lampin directed another version and starring Louis Jourdan, Francisco Rabal, Renaud Mary, Serena Vergano. The most recent version was a TV miniseries made for French television in 1979. Directed by Jean-Pierre Decourt it starred the hungarian Istvan Bujtor as Mathias Sandorf, Ivan Desny as Zathmar, Amadeus August, Claude Giraud, Monika Peitsch, Sissy Höfferer, Jacques Breuer.
《 qì qiú shàng de wǔ xīng qī》 shì fǎ guó zhù míng zuò jiā rú lè · fán 'ěr nà de dì yī bù kē huàn cháng piān xiǎo shuō， yě shì tā de chéng míng zuò。 jiǎng de shì shí jiǔ shì jì fú gé sēn bó shì hé tā de péng yǒu kěn ní dí、 tā de pú rén qiáo yī qǐ chéng zuò rè qì qiú， cóng fēi zhōu nán bù de sāng gěi bā 'ěr chū fā， chuān yuè liǎo fēi zhōu dà lù， jīng lì liǎo qiān nán wàn xiǎn， zhōng yú jiàng luò zài sài nèi jiā 'ěr hé， cóng 'ér wán chéng liǎo qián rén wèi céng wán chéng de tàn xiǎn xíng chéng。
《 qì qiú shàng de wǔ xīng qī》 - nèi róng jiǎn jiè
《 qì qiú shàng de wǔ xīng qī》 shì fǎ guó zhù míng zuò jiā rú lè · fán 'ěr nà de dì yī bù kē huàn cháng piān xiǎo shuō， yě shì tā de chéng míng zuò。 shí jiǔ shì jì shàng bàn yè， xǔ duō tàn xiǎn jiā、 dì lǐ xué jiā、 lǚ xíng jiā duì fēi zhōu zhè piàn guǎng mào de dà lù jìn xíng liǎo jiān xīn de tàn xiǎn， liú xià liǎo xǔ duō zhēn guì de zī liào hé dì tú。 dàn shì yóu yú zì rán de zhàng 'ài hé rén wéi de kùn nán， dōuwú fǎ shēn rù fēi zhōu nèi dì。 yīng guó tàn xiǎn lǚ xíng jiā fú gé sēn bó shì jué dìng zhēn duì qián rén tàn xiǎn de chéng guǒ， duì fēi zhōu dì qū de wèi zhī dì dài zài cì jìn xíng kǎo chá。 tā xiǎng chū gè dà dǎn de jìhuà， chéng qì qiú héng yuè fēi zhōu。 lǚ xíng de yī qiē zhǔn bèi gōng zuò zuò hǎo liǎo， fèi 'ěr jiǔ xùn bó shì dài zhe tā de péng yǒu kǎi nǎi dì hé pú rén qiáo， cóng fēi zhōu dōng 'àn sāng gěi bā 'ěr chū fā， jīng guò wǔ xīng qī láolèi hé jīng xiǎn de shēng huó， zhōng yú héng guàn fēi zhōu dà lù dào dá fēi zhōu xī 'àn fǎ guó zài sài nèi jiā 'ěr hé de shǔ dì， cóng 'ér wán chéng liǎo qián rén wèi jìng de tàn xiǎn xíng chéng。
shū zhōng duì fēi zhōu dà lù de fēng jǐng miáo xiě shí fēn shēng dòng xì nì， gāo shān dà hǎi、 zhǎo zé wā dì、 shā mò hé liú， hái yòu huǒ shān děng rè dài dì mào zài xiǎo shuō zhōng quán bù dōuyòu suǒ shè jí； hóu miàn bāo shù、 wú huā guǒ shù、 jīn hé huān shù、 luó wàng zǐ shù děng rè dài zhí wù zhēn shì qiān qí bǎi guài； dà xiàng、 hé mǎ、 ě yú、 tū jiù、 bào zǐ、 liè gǒu děng rè dài dòng wù yīngyǒu jìn yòu， hái yòu yǔ yě rén、 hóu zǐ dǒu zhì dǒu yǒng de jīng xīn dòng bó de chǎng miàn， zhè xiē dōubù jìn shǐ rén fú xiǎng lián piān， chǎn shēng qù fēi zhōu mào xiǎn lǚ xíng de chōng dòng。
《 qì qiú shàng de wǔ xīng qī》 - hòu jì
《 qì qiú shàng de wǔ xīng qī》 rè qì qiú
rè qì qiú shì tā men chéng zuò de jiāo tōng gōng jù， jí shǐ duì jīn tiān de zhōng guó dú zhě lái shuō， tā yě shì yī gè bǐ jiào mò shēng de shì wù， ér shū zhōng zhù rén gōng zǎo zài 19 shì jì shàng bàn yè yǐ jīng xiǎng dào liǎo yòng tā lái dàngzuò tàn xiǎn de gōng jù， gèng yòu qù de shì， zuò zhě lián qì qiú de fù zá jié gòu yě tōng guò zhù rén gōng xiáng xì dì jiè shào gěi liǎo dú zhě， kě jiàn gāi shū zuò zhě guǎng bó de zhī shí hé jí qí fēng fù de xiǎng xiàng lì。 xīn qí de jiāo tōng gōng jù jiā shàng měi lì de fēng jǐng zēng tiān liǎo gāi shū de qù wèi xìng。
shū zhōng yě tǐ xiàn liǎo rén yǔ rén zhī jiān de yǒu yì hé guān huái： sān wèi lǚ xíng jiā céng jīng bù gù shēng mìng wēi xiǎn jiù liǎo yī wèi fǎ guó chuán jiào shì； dāng qì qiú kuài yào zhuì rù zhà dé hú de shí hòu， wéi liǎo ràng qì qiú zài cì shēng qǐ lái， qiáo fèn bù gù shēn dì tiào rù hú zhōng， wǎn jiù liǎo liǎng wèi tóng bàn de xìng mìng； ér dāng qiáo zài sǎ hā lā dà shā mò táo mìng de shí hòu， kěn ní dí de yī qiāng yě jiāng qiáo cóng yě mán mín zú nà lǐ wǎn jiù liǎo huí lái。 zhè zhǒng hù 'ài hù zhù de jīng shén zài dāng jīn gè xìng zhāng yáng de shí dài shì fēi cháng zhí dé wǒ men zhēn xī hé fā yáng de。
《 qì qiú shàng de wǔ xīng qī》 chuàng zuò wán hòu， fán 'ěr nà xiān hòu gěi shí liù jiā chū bǎn shè tóu gǎo， rán 'ér què wú rén xīn shǎng tā de zuò pǐn， tā fèn rán jiāng shū gǎo tóu rù huǒ zhōng， bèi qī zǐ jí shí qiǎng jiù liǎo chū lái， shū gǎo sòng rù dì shí qī jiā chū bǎn shè hòu cái bèi jiē shòu。 shǎng shí cǐ shū de biān ji jiào hè cí 'ěr， cóng cǐ fán 'ěr nà yù dào liǎo zhī yīn， yǔ zhī jié xià zhōng shēn yǒu yì。 zhè bù xiǎo shuō chōng fēn zhǎn xiàn liǎo fán 'ěr nà gāo chāo de xiě zuò jì qiǎo、 jí qí fēng fù de zhī shí hé shōu jí zī liào de fēi fán néng lì。
It is the first Verne novel in which he perfected the "ingredients" of his later work, skillfully mixing a plot full of adventure and twists that hold the reader's interest with passages of technical, geographic, and historic description. The book gives readers a glimpse of the exploration of Africa, which was still not completely known to Europeans of the time, with explorers traveling all over the continent in search of its secrets.
Public interest in fanciful tales of African exploration was at its height, and the book was an instant hit; it made Verne financially independent and got him a contract with Jules Hetzel's publishing house, which put out several dozen more works of his for over forty years afterward.
Plot summary
A scholar, Dr. Samuel Ferguson, accompanied by his manservant Joe and his friend Richard "Dick" Kennedy, sets out to travel across the African continent — still not fully explored — with the help of a hot-air balloon filled with hydrogen. He has invented a mechanism that, by eliminating the need to release gas or throw ballast overboard to control his altitude, allows very long trips to be taken. This voyage is meant to link together the voyages of Sir Richard Burton and John Hanning Speke in East Africa with those of Heinrich Barth in the regions of the Sahara and Chad. The trip begins in Zanzibar on the east coast, and passes across Lake Victoria, Lake Chad, Agadez, Timbuktu, Djenné and Ségou to St Louis in modern day Senegal on the west coast. The book describes the unknown interior of Africa near modern day Central African Republic as a desert, when it is actually savanna.
Map of the trip described in the book from the east to the west coast of Africa.
A good deal of the initial exploration is to focus on the finding of the source of the Nile, an event that occurs in chapter 18 (out of 43). The second leg is to link up the other explorers. There are numerous scenes of adventure, composed of either a conflict with a native or a conflict with the environment. Some examples include:
* Rescuing of a missionary from a tribe that was preparing to sacrifice him.
* Running out of water while stranded, windless, "over" the Sahara.
* An attack on the balloon by condors, leading to a dramatic action as Joe leaps out of the balloon.
* The actions taken to rescue Joe later.
* Narrowly escaping the remnants of a militant army as the balloon dwindles to nothingness with the loss of hydrogen.
In all these adventures, the protagonists overcome by continued perseverance more than anything else. The novel is filled with coincidental moments where trouble is avoided because wind catches up at just the right time, or the characters look in just the right direction. There are frequent references to a higher power watching out for them, as tidy an explanation as any.
The balloon itself ultimately fails before the end, but makes it far enough across to get the protagonists to friendly lands, and eventually back to England, therefore succeeding in the expedition. The story abruptly ends after the African trip, with only a brief synopsis of what follows.
Themes of the novel
The novel has several themes and motifs central to European exploration: scientific achievement, the otherworldliness of the region explored, and the question of how much shared humanity there is between the explorers and the natives. The balloon is a straight allegory of scientific achievement overcoming the wild, as well as overcoming the limitations of the Western world. Most of the Africans are contrasted as being superstitious and quick to worship any object cast down from the balloon, though Verne does not generalize this to all religion. The treatment of animals is in line with the image of the Great White Hunter. This is most obvious by Dick's statement, upon seeing a herd of elephants, "Oh, what magnificent elephants! Is there no way to get a little shooting?" These aspects are both tied into the explorers being above, quite literally in this novel, the region they are traveling across, and Verne makes them worthy of their status through their technological achievements.
As one scene where the explorers confuse baboons for black men illustrates, Africa is approached as an alien place. The explorers do not, and maybe cannot, fully understand the people they are interacting with (or, as the case may be, avoiding). Only later in the novel do they comment on the similarities between themselves and the people they have flown over, when they hold that the Africans' ways of war are not one whit worse than white men's, only filthier. In most scenes, neither the Africans nor the explorers show much compassion for the other.
In Chapter 16, the Doctor equates Africa to the "Last Machine", which will serve as the place of human growth after the Americas are dry. His depiction is of an Africa tamed and cultivated over years to come.
Inconsistent scientific/technological reference
The description of the apparatus used to heat the hydrogen gas in the balloon is deeply flawed. Jules Verne states that it uses a powerful electric battery to electrolyze water into hydrogen and oxygen, and then burns resulting hydrogen in a blow-pipe. He also says that the apparatus weighs 700 pounds (including the battery) and it is able to process 25 gallons of water. This is physically impossible. Even using state-of-the-art 21st century batteries (e.g. lithium-ion batteries) and assuming zero losses, one needs over 4000 pounds of batteries to electrolyze that much water. This number should be increased by at least a factor of five if authentic mid-19th century batteries are to be used. It would have been far more realistic simply to electrolyze the water up front and to load a tank of compressed hydrogen onto the balloon (electrolysis of that quantity of water produces less than 25 pounds of hydrogen).
Further, it would have been more efficient to use the energy contained in the battery to heat the gas directly. Electrolysis of water is not 100% efficient. So some of the energy contained in the battery is wasted and the heat generated by burning the obtained hydrogen is less than the heat that could have been obtained by simply using a resistance connected to the battery. In fact, Verne implies that the described device is a perpetual motion machine, since he implies that greater energy can be obtained by electrolysis than could have been obtained from the battery directly: if this were true, then the obtained hydrogen could be used to boil water to create steam to power an electrical generator to create more electricity for the battery. This may have been a deliberate joke by Verne.
Though the novel goes into great detail with much of the calculations involving the lift power of the hydrogen balloon, and how to obtain the proper amount of volume through changes in temperature, there are gaps in the logic. The balloon rises up when heated, and lowers as it is allowed to cool. This pattern is used as numerous plot points and is shown to be a somewhat quick process of cooling. At night, however, there is little mention of them maintaining the temperature through the night. Another gap in the scientific logic is the lack of reference to the effect of atmospheric temperature on the balloon itself, though the temperature is referenced as affecting the heating coil.
And it would be very dangerous to light a fire in the nacelle under a balloon filled with hydrogen.
Further, in Chapter 41, the load carried is progressively reduced in order to allow the balloon to rise higher and higher. But in fact a single load reduction would have been sufficient, because at that point the lift of the balloon would have exceeded the weight and it would have continued to rise until the volume of gas was reduced. (The density of air decreases with increasing altitude, thus reducing the lift at constant balloon volume, but the balloon would expand proportionately, due to decreasing air pressure, thus maintaining constant total lift.)
In Chapter 26, it says the doctor takes the balloon up to five miles. Later, in Chapter 29, in order to get over Mount Mendif, the doctor "by means of a temperature increased to one hundred and eighty degrees, gave the balloon a fresh ascensional force of nearly sixteen hundred pounds, and it went up to an elevation of more than eight thousand feet" which is noted as being "the greatest height attained during the journey." If this is meant to imply that the doctor went eight thousand feet above Mount Mendif, at a height greater than five miles, Jules Verne would have greatly underestimated the drop in temperature and how much heat would have been required to keep the balloon at that height for any length of time.
At the time when the book was first written, lands to the north and northwest of Lake Victoria were still poorly known to Europeans. Jules Verne makes a few inaccurate predictions here, such as placing the source of the Nile river at 2°40′N (instead of 0°45′N); claiming that this source is just over 90 miles from of Gondokoro (the actual distance is closer to 300 miles); not mentioning Lake Albert at all (it was not discovered by Europeans until after the publication of the book). Much of the geography described further in the book is completely fictional. For example, coordinates given for the "desert oasis" in chapter 27 correspond to a location in a savanna region of southern Chad, less than twenty miles from a big river.
Similarities to later novels
Five Weeks has a handful of similarities to the novel Journey to the Center of the Earth. There is the same sort of conjecture from current scientific ideas and what Verne puts forth as the actual truth (though Five Weeks is far more successful, assuming there is any attempt at accuracy with Journey). The party of three characters is similarly divided into the Doctor, the doubtful companion who initially balks at the journey, and the servant who is quite able. In both novels, Purdey rifles are referenced. In both novels, there is an episode of despair categorized by thirst.
Also, neither novel deals directly with the French, but with (generally positive) stereotypes of other countries.
《 qì qiú shàng de wǔ xīng qī》 - nèi róng jiǎn jiè
《 qì qiú shàng de wǔ xīng qī》 shì fǎ guó zhù míng zuò jiā rú lè · fán 'ěr nà de dì yī bù kē huàn cháng piān xiǎo shuō， yě shì tā de chéng míng zuò。 shí jiǔ shì jì shàng bàn yè， xǔ duō tàn xiǎn jiā、 dì lǐ xué jiā、 lǚ xíng jiā duì fēi zhōu zhè piàn guǎng mào de dà lù jìn xíng liǎo jiān xīn de tàn xiǎn， liú xià liǎo xǔ duō zhēn guì de zī liào hé dì tú。 dàn shì yóu yú zì rán de zhàng 'ài hé rén wéi de kùn nán， dōuwú fǎ shēn rù fēi zhōu nèi dì。 yīng guó tàn xiǎn lǚ xíng jiā fú gé sēn bó shì jué dìng zhēn duì qián rén tàn xiǎn de chéng guǒ， duì fēi zhōu dì qū de wèi zhī dì dài zài cì jìn xíng kǎo chá。 tā xiǎng chū gè dà dǎn de jìhuà， chéng qì qiú héng yuè fēi zhōu。 lǚ xíng de yī qiē zhǔn bèi gōng zuò zuò hǎo liǎo， fèi 'ěr jiǔ xùn bó shì dài zhe tā de péng yǒu kǎi nǎi dì hé pú rén qiáo， cóng fēi zhōu dōng 'àn sāng gěi bā 'ěr chū fā， jīng guò wǔ xīng qī láolèi hé jīng xiǎn de shēng huó， zhōng yú héng guàn fēi zhōu dà lù dào dá fēi zhōu xī 'àn fǎ guó zài sài nèi jiā 'ěr hé de shǔ dì， cóng 'ér wán chéng liǎo qián rén wèi jìng de tàn xiǎn xíng chéng。
shū zhōng duì fēi zhōu dà lù de fēng jǐng miáo xiě shí fēn shēng dòng xì nì， gāo shān dà hǎi、 zhǎo zé wā dì、 shā mò hé liú， hái yòu huǒ shān děng rè dài dì mào zài xiǎo shuō zhōng quán bù dōuyòu suǒ shè jí； hóu miàn bāo shù、 wú huā guǒ shù、 jīn hé huān shù、 luó wàng zǐ shù děng rè dài zhí wù zhēn shì qiān qí bǎi guài； dà xiàng、 hé mǎ、 ě yú、 tū jiù、 bào zǐ、 liè gǒu děng rè dài dòng wù yīngyǒu jìn yòu， hái yòu yǔ yě rén、 hóu zǐ dǒu zhì dǒu yǒng de jīng xīn dòng bó de chǎng miàn， zhè xiē dōubù jìn shǐ rén fú xiǎng lián piān， chǎn shēng qù fēi zhōu mào xiǎn lǚ xíng de chōng dòng。
《 qì qiú shàng de wǔ xīng qī》 - hòu jì
《 qì qiú shàng de wǔ xīng qī》 rè qì qiú
rè qì qiú shì tā men chéng zuò de jiāo tōng gōng jù， jí shǐ duì jīn tiān de zhōng guó dú zhě lái shuō， tā yě shì yī gè bǐ jiào mò shēng de shì wù， ér shū zhōng zhù rén gōng zǎo zài 19 shì jì shàng bàn yè yǐ jīng xiǎng dào liǎo yòng tā lái dàngzuò tàn xiǎn de gōng jù， gèng yòu qù de shì， zuò zhě lián qì qiú de fù zá jié gòu yě tōng guò zhù rén gōng xiáng xì dì jiè shào gěi liǎo dú zhě， kě jiàn gāi shū zuò zhě guǎng bó de zhī shí hé jí qí fēng fù de xiǎng xiàng lì。 xīn qí de jiāo tōng gōng jù jiā shàng měi lì de fēng jǐng zēng tiān liǎo gāi shū de qù wèi xìng。
shū zhōng yě tǐ xiàn liǎo rén yǔ rén zhī jiān de yǒu yì hé guān huái： sān wèi lǚ xíng jiā céng jīng bù gù shēng mìng wēi xiǎn jiù liǎo yī wèi fǎ guó chuán jiào shì； dāng qì qiú kuài yào zhuì rù zhà dé hú de shí hòu， wéi liǎo ràng qì qiú zài cì shēng qǐ lái， qiáo fèn bù gù shēn dì tiào rù hú zhōng， wǎn jiù liǎo liǎng wèi tóng bàn de xìng mìng； ér dāng qiáo zài sǎ hā lā dà shā mò táo mìng de shí hòu， kěn ní dí de yī qiāng yě jiāng qiáo cóng yě mán mín zú nà lǐ wǎn jiù liǎo huí lái。 zhè zhǒng hù 'ài hù zhù de jīng shén zài dāng jīn gè xìng zhāng yáng de shí dài shì fēi cháng zhí dé wǒ men zhēn xī hé fā yáng de。
《 qì qiú shàng de wǔ xīng qī》 chuàng zuò wán hòu， fán 'ěr nà xiān hòu gěi shí liù jiā chū bǎn shè tóu gǎo， rán 'ér què wú rén xīn shǎng tā de zuò pǐn， tā fèn rán jiāng shū gǎo tóu rù huǒ zhōng， bèi qī zǐ jí shí qiǎng jiù liǎo chū lái， shū gǎo sòng rù dì shí qī jiā chū bǎn shè hòu cái bèi jiē shòu。 shǎng shí cǐ shū de biān ji jiào hè cí 'ěr， cóng cǐ fán 'ěr nà yù dào liǎo zhī yīn， yǔ zhī jié xià zhōng shēn yǒu yì。 zhè bù xiǎo shuō chōng fēn zhǎn xiàn liǎo fán 'ěr nà gāo chāo de xiě zuò jì qiǎo、 jí qí fēng fù de zhī shí hé shōu jí zī liào de fēi fán néng lì。
It is the first Verne novel in which he perfected the "ingredients" of his later work, skillfully mixing a plot full of adventure and twists that hold the reader's interest with passages of technical, geographic, and historic description. The book gives readers a glimpse of the exploration of Africa, which was still not completely known to Europeans of the time, with explorers traveling all over the continent in search of its secrets.
Public interest in fanciful tales of African exploration was at its height, and the book was an instant hit; it made Verne financially independent and got him a contract with Jules Hetzel's publishing house, which put out several dozen more works of his for over forty years afterward.
Plot summary
A scholar, Dr. Samuel Ferguson, accompanied by his manservant Joe and his friend Richard "Dick" Kennedy, sets out to travel across the African continent — still not fully explored — with the help of a hot-air balloon filled with hydrogen. He has invented a mechanism that, by eliminating the need to release gas or throw ballast overboard to control his altitude, allows very long trips to be taken. This voyage is meant to link together the voyages of Sir Richard Burton and John Hanning Speke in East Africa with those of Heinrich Barth in the regions of the Sahara and Chad. The trip begins in Zanzibar on the east coast, and passes across Lake Victoria, Lake Chad, Agadez, Timbuktu, Djenné and Ségou to St Louis in modern day Senegal on the west coast. The book describes the unknown interior of Africa near modern day Central African Republic as a desert, when it is actually savanna.
Map of the trip described in the book from the east to the west coast of Africa.
A good deal of the initial exploration is to focus on the finding of the source of the Nile, an event that occurs in chapter 18 (out of 43). The second leg is to link up the other explorers. There are numerous scenes of adventure, composed of either a conflict with a native or a conflict with the environment. Some examples include:
* Rescuing of a missionary from a tribe that was preparing to sacrifice him.
* Running out of water while stranded, windless, "over" the Sahara.
* An attack on the balloon by condors, leading to a dramatic action as Joe leaps out of the balloon.
* The actions taken to rescue Joe later.
* Narrowly escaping the remnants of a militant army as the balloon dwindles to nothingness with the loss of hydrogen.
In all these adventures, the protagonists overcome by continued perseverance more than anything else. The novel is filled with coincidental moments where trouble is avoided because wind catches up at just the right time, or the characters look in just the right direction. There are frequent references to a higher power watching out for them, as tidy an explanation as any.
The balloon itself ultimately fails before the end, but makes it far enough across to get the protagonists to friendly lands, and eventually back to England, therefore succeeding in the expedition. The story abruptly ends after the African trip, with only a brief synopsis of what follows.
Themes of the novel
The novel has several themes and motifs central to European exploration: scientific achievement, the otherworldliness of the region explored, and the question of how much shared humanity there is between the explorers and the natives. The balloon is a straight allegory of scientific achievement overcoming the wild, as well as overcoming the limitations of the Western world. Most of the Africans are contrasted as being superstitious and quick to worship any object cast down from the balloon, though Verne does not generalize this to all religion. The treatment of animals is in line with the image of the Great White Hunter. This is most obvious by Dick's statement, upon seeing a herd of elephants, "Oh, what magnificent elephants! Is there no way to get a little shooting?" These aspects are both tied into the explorers being above, quite literally in this novel, the region they are traveling across, and Verne makes them worthy of their status through their technological achievements.
As one scene where the explorers confuse baboons for black men illustrates, Africa is approached as an alien place. The explorers do not, and maybe cannot, fully understand the people they are interacting with (or, as the case may be, avoiding). Only later in the novel do they comment on the similarities between themselves and the people they have flown over, when they hold that the Africans' ways of war are not one whit worse than white men's, only filthier. In most scenes, neither the Africans nor the explorers show much compassion for the other.
In Chapter 16, the Doctor equates Africa to the "Last Machine", which will serve as the place of human growth after the Americas are dry. His depiction is of an Africa tamed and cultivated over years to come.
Inconsistent scientific/technological reference
The description of the apparatus used to heat the hydrogen gas in the balloon is deeply flawed. Jules Verne states that it uses a powerful electric battery to electrolyze water into hydrogen and oxygen, and then burns resulting hydrogen in a blow-pipe. He also says that the apparatus weighs 700 pounds (including the battery) and it is able to process 25 gallons of water. This is physically impossible. Even using state-of-the-art 21st century batteries (e.g. lithium-ion batteries) and assuming zero losses, one needs over 4000 pounds of batteries to electrolyze that much water. This number should be increased by at least a factor of five if authentic mid-19th century batteries are to be used. It would have been far more realistic simply to electrolyze the water up front and to load a tank of compressed hydrogen onto the balloon (electrolysis of that quantity of water produces less than 25 pounds of hydrogen).
Further, it would have been more efficient to use the energy contained in the battery to heat the gas directly. Electrolysis of water is not 100% efficient. So some of the energy contained in the battery is wasted and the heat generated by burning the obtained hydrogen is less than the heat that could have been obtained by simply using a resistance connected to the battery. In fact, Verne implies that the described device is a perpetual motion machine, since he implies that greater energy can be obtained by electrolysis than could have been obtained from the battery directly: if this were true, then the obtained hydrogen could be used to boil water to create steam to power an electrical generator to create more electricity for the battery. This may have been a deliberate joke by Verne.
Though the novel goes into great detail with much of the calculations involving the lift power of the hydrogen balloon, and how to obtain the proper amount of volume through changes in temperature, there are gaps in the logic. The balloon rises up when heated, and lowers as it is allowed to cool. This pattern is used as numerous plot points and is shown to be a somewhat quick process of cooling. At night, however, there is little mention of them maintaining the temperature through the night. Another gap in the scientific logic is the lack of reference to the effect of atmospheric temperature on the balloon itself, though the temperature is referenced as affecting the heating coil.
And it would be very dangerous to light a fire in the nacelle under a balloon filled with hydrogen.
Further, in Chapter 41, the load carried is progressively reduced in order to allow the balloon to rise higher and higher. But in fact a single load reduction would have been sufficient, because at that point the lift of the balloon would have exceeded the weight and it would have continued to rise until the volume of gas was reduced. (The density of air decreases with increasing altitude, thus reducing the lift at constant balloon volume, but the balloon would expand proportionately, due to decreasing air pressure, thus maintaining constant total lift.)
In Chapter 26, it says the doctor takes the balloon up to five miles. Later, in Chapter 29, in order to get over Mount Mendif, the doctor "by means of a temperature increased to one hundred and eighty degrees, gave the balloon a fresh ascensional force of nearly sixteen hundred pounds, and it went up to an elevation of more than eight thousand feet" which is noted as being "the greatest height attained during the journey." If this is meant to imply that the doctor went eight thousand feet above Mount Mendif, at a height greater than five miles, Jules Verne would have greatly underestimated the drop in temperature and how much heat would have been required to keep the balloon at that height for any length of time.
At the time when the book was first written, lands to the north and northwest of Lake Victoria were still poorly known to Europeans. Jules Verne makes a few inaccurate predictions here, such as placing the source of the Nile river at 2°40′N (instead of 0°45′N); claiming that this source is just over 90 miles from of Gondokoro (the actual distance is closer to 300 miles); not mentioning Lake Albert at all (it was not discovered by Europeans until after the publication of the book). Much of the geography described further in the book is completely fictional. For example, coordinates given for the "desert oasis" in chapter 27 correspond to a location in a savanna region of southern Chad, less than twenty miles from a big river.
Similarities to later novels
Five Weeks has a handful of similarities to the novel Journey to the Center of the Earth. There is the same sort of conjecture from current scientific ideas and what Verne puts forth as the actual truth (though Five Weeks is far more successful, assuming there is any attempt at accuracy with Journey). The party of three characters is similarly divided into the Doctor, the doubtful companion who initially balks at the journey, and the servant who is quite able. In both novels, Purdey rifles are referenced. In both novels, there is an episode of despair categorized by thirst.
Also, neither novel deals directly with the French, but with (generally positive) stereotypes of other countries.
“ bì xià， yòu lái liǎo yī fèn diàn bào。”
“ cóng nǎ 'ér lái de？”
“ cóng tuō mù sī kè。”
“ zhè zuò chéng shì yǐ yuǎn de diàn xiàn dōubèi qiē duàn liǎo má？”
“ cóng zuó tiān qǐ dōubèi qiē duàn liǎo。”
“ jiāng jūn， měi gé yī xiǎo shí xiàng tuō mù sī kè fā yī fèn diàn bào， bìng pài rén xiàng wǒ huì bào。”
“ shì， bì xià，” jī suǒ fū jiāng jūn dá dào。
zhè fān duì huà fā shēng zài líng chén liǎng diǎn zhōng， zhèng shì zài xīn gōng jǔ xíng de wǎn huì yì cǎi fēn chéng de shí kè。
“ cóng nǎ 'ér lái de？”
“ cóng tuō mù sī kè。”
“ zhè zuò chéng shì yǐ yuǎn de diàn xiàn dōubèi qiē duàn liǎo má？”
“ cóng zuó tiān qǐ dōubèi qiē duàn liǎo。”
“ jiāng jūn， měi gé yī xiǎo shí xiàng tuō mù sī kè fā yī fèn diàn bào， bìng pài rén xiàng wǒ huì bào。”
“ shì， bì xià，” jī suǒ fū jiāng jūn dá dào。
zhè fān duì huà fā shēng zài líng chén liǎng diǎn zhōng， zhèng shì zài xīn gōng jǔ xíng de wǎn huì yì cǎi fēn chéng de shí kè。
wèile huò dé gèng duō de máo pí， hā dé sūn wān pí máo gōng sī pài qiǎn liǎo yī gè xiǎo fēn duì， dào běi wěi 70 dù yǐ běi de měi zhōu dà lù biān yuán dì dài chuàng jiàn yī gè liè qǔ máo pí shòu de xīn jù diǎn。 shú liào， xiǎo fēn duì wù bǎ jù diǎn jiàn zài liǎo dà lù biān yuán de yī kuài jù dà fú bīng shàng。 zài tū rú qí lái de yīcháng dì zhèn zhōng， fú bīng yǔ dà lù tuō lí， biàn chéng liǎo yī zuò fú dǎo， zài zhe xiǎo fēn duì suí hǎi shuǐ piào yí。 yóu yú yáng guāng hé nuǎn liú de shuāngchóng zuò yòng， fú bīng jiàn jiàn róng huà， fú dǎo yuè lái yuè xiǎo， dǎo shàng de rén yuán miàn lín miè dǐng zhī zāi。 jué jìng zhōng， quán tǐ duì yuán tuán jié yī zhì， fā huī jù dà de yǒng qì hé cōng míng cái zhì， zhōng yú shǐ fú bīng zài jí jiāng quán bù róng huà qián kào shàng liǎo yī gè xiǎo dǎo， quán tǐ duì yuán dé yǐ sǐ lǐ táo shēng。 shū zhōng yǐ dú zhě zhǎn xiàn liǎo chōng mǎn shén mì sè cǎi de jí dì fēng mào， shǐ dú zhě shēn lín qí jìng dì lǐng lüè liǎo jí dì de zhuàng lì yǔ qí tè。