美国文学作业

美国文学作业

《白鲸》的文学鉴赏

美国浪漫主义小说家赫尔曼·麦尔维尔（１８１９－１８９１）的代表作《白鲸》（ＭｏｂｙＤｉｃｋ）曾一度被十九世纪美国文学的大潮所淹没，经过半个多世纪的沉寂后，当新时代的人们以新的视角重新审视它时，这部史诗般的文学巨著就像深埋于古墓中的珠宝重见天日，放射出前所未有的璀璨光芒。如今它已成为世界文坛公认的伟大杰作，被誉为“时代的镜子”和“美国想象力最辉煌的表达”。

这是一部融戏剧、冒险、哲理、研究于一体的鸿篇巨制。它讲述了一个惊险、刺激的海洋冒险故事：驾驶着“裴廓德号”捕鲸船的水手们在亚哈船长的带领下，一心一意地追赶着海上的“恶魔”——白鲸莫比?迪克。它也是一曲反复探触人类心灵的歌谣，暗喻了人类盲目地坚持目标，却迷失在自己不断膨胀的固执念头里，最终酿成了悲剧。

在与现实生活的相互映照中，作者寓事于理，寄托深意，或讲历史，谈宗教，或赞自然，论哲学，闲聊中透射深刻哲理，平叙中揭示人生真谛，不但为航海、鲸鱼、捕鲸业的科学研究提供了丰富的材料，而且展现了作家对人类文明和命运的独特反思。它就像一座深邃神奇的艺术迷宫，呈现出异彩纷繁的多维性、开放性和衍生性，具有开掘不尽的恒久艺术价值。

一、多重象征意蕴的复合

《白鲸》像一座象征主义的迷宫。这里大到典型人物、宏观景物，小到静止的物体几乎都具有多层次的象征意义。作者正是通过多重奇谲的象征事物来表现他对哲学、社会、宗教等问题的深刻思考。

“烟斗”是作者在书中多次提及的另一重要意象，它的基本寓意是现实生活的日常享

乐，借此寓意作者揭示了不同人物的性格和心态。当以实玛利和魁魁格分享同一支烟斗的时候，不仅表明他们是在享受生活，而且象征他们已结成了“有福同享，有难同当”的友谊；二副斯塔布整天烟斗不离嘴，象征他是一个注重物质生活享受的乐天派；亚哈船长把烟斗抛入大海，则象征了他要抛弃享乐、追捕白鲸的决心。

“裴廓德号”捕鲸船的象征意义更为丰富。它代表人类生活的世界舞台；象征执著探寻自然界秘密的美国精神；代表原始文化的一叶方舟；象征基督教对其他“落后”文化的统治之地；又由于“裴廓德”取自被灭绝的印第安部落之名，因而它还可以象征邪恶的人类世界必遭毁灭的命运。

然而，小说中更为隐秘微妙的复杂象征仍然主要体现在白鲸莫比·迪克和船长亚哈这两个形象身上。对于二者象征意蕴的阐释，是理解这部小说的关键。

“莫比·迪克”是一条颇富传奇色彩的白色巨鲸，小说从不同人物的视角展现其多重的象征寓意。在异教徒水手看来，它是一只时而平静安详，时而恐怖暴虐的海怪；疯子迦百利把它当做震教神的化身；在亚哈眼中，“一切最使人狂怒和痛苦的事情，一切足以搅起事物的残渣的东西，一切附有恶念的真理，一切使人焦头烂额的东西，一切有关生命思想的神秘而不可思议的鬼神邪说，一切的邪恶等等，都是莫比·迪克的显明化身”。它是亚哈心中邪恶与恐怖、难以征服而又必须予以摧毁的仇敌。但对以实玛利来说，白鲸既代表高洁安宁，也代表恐怖死亡，它是宇宙间一切对立矛盾的结合，象征宇宙的浩阔与奥秘、上帝的无边神力、人类的命运与前途，它给以实玛利的重要启迪不是简单的摧毁，而是努力完善认识、不懈地追求真理。

亚哈船长同样是一个具有多重性格的矛盾体。他违犯了基督教关于“傲慢”的戒律，一切以“自我”为中心，背弃捕鲸获取鲸油的使命，执迷不悟于一己私仇，全然置船员的安危于不顾，在这个意义上，他就是一个不折不扣的暴君和邪恶魔王的象征。然而，就其敢于搏击邪恶、挑战命运、反抗神明而言，他又是人类反抗英雄的象征。另一方面，他又是一个坚毅执著探索宇宙奥秘的勇士，尽管具有顽强无畏和骁勇善战的勇气和能力，但终因无视大自然的内在规律，而徒劳地成为与宇宙力量抗争的牺牲品。可见，在亚哈身上同样体现了善恶并存、美丑相共、既是害人者又是受害者的多重意义，这一形象所蕴含的象征意义与白鲸一样也是复杂深邃、难以把握的。

总之，《白鲸》中的象征不计其数，它们像闪烁着寓意与思想哲理的光链，不但映现出作品的题旨与美学价值而且开掘、深化了作品的主题意蕴。

二、多重主题的变奏

《白鲸》所构筑的艺术世界可谓千姿百态。这里既有反映航海捕鲸生活的人类现实世界，也有阐析基督教义的宗教世界，而且潜蕴着充满隐喻的哲理世界。这里既有对人鲸共斗恢宏场面的艺术描绘，又有对捕鲸科学条分缕析的客观讲述，更有对“变动的时代一切变动的思想和感情”的本真显现。

复仇是世界文学的一个古老话题。《白鲸》正是以复仇主题贯穿故事始末的。从事捕鲸业四十余年的船长亚哈不幸在出海时被白鲸莫比·迪克咬掉一条腿。此后，他对白鲸就充满了刻骨的仇恨，复仇的欲望吞噬着他的每一个细胞，他出航乃至整个余生的唯一目标就是誓死捕杀莫比·迪克。满腹仇恨使他成为最孤独自闭的人。为了报复白鲸，他听不进理智的劝告，完全被自己的“我”所吞没，他不再为妻子和孩子着想，不再和船员们交流，极端的自我中心主义使他几乎完全丧失了理性和人性，为报一己私仇不惜伤害他人。他始终固执地认为，自己的意志就是唯一的法则，世界为他而存在，世人为他而牺牲。“我所敢做的，我就有决心做；而我有决心做的，我就要做！他们当我发疯了……可是，我是恶魔，我是疯上加

疯！……我现在预言，我一定要肢解那肢解我的家伙。”复仇的抉择一旦作出，满载祸殃的命运之船便开动了，一场由狂妄和偏执领航的复仇战斗就在这泯灭了理智的黑暗航行中开始了，最终把“裴廓德号”引向了毁灭的航程。在这个意义上，亚哈的悲剧主要源于由复仇导致的极端自我膨胀，他的灵魂因过于独立而难以得救，因而成为唯我论的牺牲品。

除人鲸复仇的故事之外，小说中也穿插了一段人类之间互相报复的插曲。船上大副和一名水手仅因一点小事就互起报复之念，大副凭借权力加害水手，水手则听任大船漏水沉掉也不愿合作，以伺机泄愤。在追捕白鲸的关键时刻终因两人难解的仇怨而未能友好合作，致使白鲸跑掉，大副命丧白鲸之口。这段插曲似乎暗示出，复仇是人类固有的罪恶天性，如果任由这种报复性争斗肆意膨胀将会把人类引向疯狂甚至死亡的悲惨境地。

与复仇主题紧密相关的便是更具现实意义的人与自然关系的主题。亚哈船长和白鲸作为一对尖锐的矛盾，代表了人类与自然界的激烈冲突。亚哈船长剿灭白鲸的过程就是人类征服自然过程中的一个浓缩，是双方无数次殊死搏斗中的一次。尽管这艘渗透着人类智慧的“裴廓德号”捕鲸船在猎捕大鲸的过程中发挥了巨大的威力，但是人鲸交锋两败俱亡的悲剧却说明人类与自然同样都无法战胜对方，二者的执拗对抗只会带来灾难性的后果。小说最后那重归宁静的大海或者说是人类和其他物种共同生活其间的世界似乎在提醒人们：与造物主的其他杰作和谐共处才是人类继续存在于这个世界的唯一出路，这一思想甚至在当今高扬环保大旗的现代社会仍具有广泛的警示意义。

当然，《白鲸》所描绘的世界也并非只是疯狂残酷的仇恨与杀戮，小说通过故事叙述者以实玛利的视角也揭示了另一个不容忽视的主题——博爱与友谊。不同于亚哈船长自我封闭的极端个人主义价值观，以实玛利却深感人类的相互依存是不可逃脱的客观现实。他渴望理解与友谊，相信人类灵魂中的美与善，主动从欣赏他人优点的角度与人们真诚交谊，这也是他和黑人异教徒魁魁格成为亲密知己的根本原因。他看到魁魁格野蛮可怖的外貌下所覆盖的质朴崇高的心灵，也从他身上认识到“普天之下就是一个共同、合股的世界”这一道理。在第七十二章“猴索”中，甲板上的以实玛利与站在被捕获的鲸鱼背上的魁魁格由一条绳索联结在一起，一人落海将两人同死的危险境遇使他们成为相依为命的患难兄弟。由此使他参悟到更加深刻的人生哲理：“我看到我的这种处境，正是一切活着的人的处境；不同的是，在大多数的场合上，一切活着的人，都有一根缚住一大串人的暹罗索子。”在第九十四章“手的揉捏”中以实玛利则更加充满激情的热切呼唤人与人间素朴真挚的友情：“让我们彼此都捏在一起吧；让我们把我们自己一起融化在这乳油交融的友情里吧。” 在此作者借以实玛利之口大力阐扬了人类博爱与友谊的重要性。

宗教主题是《白鲸》所要揭示的又一深刻主题。在《白鲸》中读者可以看到一幅幅略作改写的《圣经》画面，小说中半数以上人物的名字直接取自《圣经》，且相当一部分人物的性格特征及所体现的宗教寓意都与《圣经》原型极为相近。如船长亚哈的名字来自《旧约·列王纪》，他与十恶不赦的以色列第七代王亚哈的性格和命运如出一辙；叙述者以实玛利与《旧约·创世纪》中无家可归而后又被上帝拯救的同名人物有着相似的经历；小说中名叫约拿的干瘪、忙碌的老头是根据《旧约·约拿书》中一个希伯莱预言家的名字命名的……整部小说与《圣经》相关的内容多达上千处，使得它同基督教有着千丝万缕的密切联系，更增添了文章的宗教气息。

从另一角度来看，小说在大力宣扬服从神意观点的同时，也热情歌颂了反叛神明的精神。小说中最大的反叛者非亚哈莫属。这位伟大的、不敬神却像神一样的好汉有着“敢于戳穿太阳”的英勇气概，面对着作为上帝化身的凶狠巨鲸，始终保持着人的尊严，凛然不可侵犯。尽管他没有赢得斗争的胜利，但他执著的反抗精神却永远不会被击败，他的自尊永远不可征服。他就像违抗上帝为人类盗取天火而甘受折磨的普罗米修斯，像拜伦笔下背叛天意、铤而走险的该隐，像弥尔顿笔下具有领袖号召力敢于造上帝之反的魔鬼撒旦和义无反顾与敌

人同归于尽的力士参孙，更像海明威《老人与海》中尽可以消灭掉，可就是打不败的硬汉圣第亚哥。在这个意义上，他就是人类真正的英雄。

总之，无论是社会现实层面上的批判，还是宗教、文化哲学层面上的感悟，《白鲸》都堪称是一部意蕴深邃之作。但从总体来看，作品中对人在冷漠，甚至敌视性的宇宙中挣扎乃至毁灭过程的描刻却是这部小说最为深刻的地方。这种深刻性恰是从多重题旨的互补作用中透射出来的，这无疑也对小说叙事艺术的表现形式提出了新的挑战。

三、多维艺术形式的融合

不同于麦尔维尔同时代的多数浪漫主义小说家经常采用的单一散文体叙事手段，麦尔维尔广泛吸取了多种艺术表现技巧，将其融会贯通地应用在《白鲸》中，体现出一种多元化的艺术效果。在这部气势磅礴的巨著中，既有莎士比亚戏剧的格调，又有史诗般的气势，既有诗情画意的抒情描写，也有平铺直叙的白描。

就整体而言，《白鲸》的叙事结构可分为正文前的“语源”与“选录”、由一百三十五章构成的正文以及“尾声”三部分。“语源”与“选录”是作者从西方各种文化典籍中摘录的关于鲸鱼的记述与描写，初看起来，这种别出心裁之举似为闲笔，但其实，麦尔维尔是在架构一座复杂的迷宫，等待着读者去探索。仔细分析不难发现，它们与小说正文有着千丝万缕的内在联系，它们有助于我们了解这部作品的来龙去脉，有助于深入挖掘小说的主题和境界，它们同故事、人物互相映照，耐人寻味，不但是小说结构中不可缺少的重要部分，而且是作者用以发展他这本别具一格的小说的主要手段之一。

正文部分在整体结构上呈现出“喜剧—闹剧—悲剧”这一明晰易见的发展脉络，大体可以第二十三章分为前后两部分。前一部分基本上是传统的小说模式，以喜剧式的现实主义笔触描写当时的社会生活。而其余的一百一十二章，特别从亚哈出场后第二十八章开始，小说在表现手法上做了重大变化。不但将前半部分明快风趣的笔调转变为词藻华丽的文体，而且将叙议结合的描述、新闻报道性的描写、戏剧化的宏大场景以并列或递进的方式交替展开。叙述者在故事讲述中角色的频频转型，叙事视点的时时变更，以及叙事文体的不断变换，使得这部分的叙事结构看似显得杂乱无章、复杂难辨。其实，这正是麦尔维尔对多元艺术手段的创新应用，这种对传统叙事手法的突破恰好是当今现代主义文学惯常采用的艺术手段，体现了麦尔维尔高超而颇具现代性的表现艺术。

《白鲸》是一幅描写大海而自身又像大海一样波澜壮阔的小说长卷。这部以捕鲸生活为题材的小说，在充满了大海咸湿味的深邃文字中，所思想的是比海洋更复杂的人类历史、社会文化及人性的奥秘，激活了现代人对自我意识和人性意识的深刻反省，带给了读者无比清新的艺术感受，其超越时空的艺术之光将永远闪烁在读者心头，成为后世宝贵的文学财富和文化积蓄。

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