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User:Clear Sky C/狂人之鼓

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thumb|upright=1.2|alt=A book cover with a black-and-white illustration of a man standing atop an African drum with the image of a face on it. The title at the top reads "Madman's Drum", and at the bottom reads "A novel in woodcuts by Lynd Ward".|狂人之鼓的第一版封面（1930年）狂人之鼓（英語：Madman's Drum）是一部由美国作家林德·瓦尔德（英语：Lynd Ward）（1905年-1985年）创作的无字小说，于1930年出版。狂人之鼓是瓦尔德六本无字小说中的第二部。书中的118幅木版画（英语：wood engraving）讲述了一个奴隶贩子的故事，他杀害了一个非洲人并从他那偷走了一个鼓，鼓上刻有一个恶魔的脸，而这些行为对他和他的家人造成了影响。

瓦尔德的第一部无字小说是1929年的诸神宠儿（英语：Gods' Man），而他在媒体上则表示他对第二部作品狂人之鼓更加雄心勃勃：人物更加微妙细致，情节更加成熟复杂，对社会不公的愤怒也更加清晰。瓦尔德在艺术品中使用了更多的雕刻工具，以此表达出更多的细节，他对象征主义和夸张面部表情的运用也变得更加富有表现力。

这本书在发行后得到了不错的评价，两部无字小说的成功也促使了出版商去出版更多的无字小说。1943年，心理学家亨利·默里（英语：Henry Murray）在他关于人格特质的主题统觉测验（英语：Thematic Apperception Test）（TAT）中使用了两张狂人之鼓的图画。狂人之鼓并没有诸神宠儿那么成功，此外，瓦尔德的第三部作品野蛮的朝圣（英语：Wild Pilgrimage）（1932年）内容也精简了些。

剧情简介

一个奴隶贩子从一个非洲人手中偷走了一个带有魔鬼脸的鼓，而他的家庭为此遭到了诅咒。他变成了有钱人并为家人买了一个豪宅，把抢来的鼓和杀死原主人的剑拿出来炫耀。奴隶贩子的儿子在鼓上玩耍，结果奴隶贩子殴打了儿子并让他去读书学习。后来奴隶贩子试图返回非洲，结果在海上迷路了。

奴隶贩子的儿子后来开始专心学习并远离了同伴们的恶习。他起初是信奉宗教的，但后来开始排斥宗教，并把信奉的十字架摔在了地上，结果十字架竟然弹了起来，还砸死了他的母亲。他后来成为了一名成功的科学家，在中年结婚并生了两个女儿，但长期以来一直对家人态度冷淡、漠不关心。此后，他的家人开始一个接一个地离他远去：他的妻子爱上了一位钢琴家并在此后离奇死亡，一个女儿的情人因他的共产主义同情心而被绞死，这使她染上了抑郁症，另外一个女儿则爱上了一个男人，而男人却拉拢她与其他人发生了不正当关系。一切接近他的人都离他而去，这些事件最终逼疯了他。他开始把禁鼓配备在了身旁，与他妻子的情人音乐家一起沉醉于音乐之中。

创作背景

林德·瓦尔德（英语：Lynd Ward）（1905年-1985年）出生于美国芝加哥，[1]他的父亲是一位循道宗牧师、社会活动家和美國公民自由聯盟的第一任主席——哈里·F·瓦尔德（英语：Harry F. Ward）。在他的职业生涯中，他父亲对社会不公的兴趣影响到了瓦尔德的早期作品。[2]他从小就被艺术所吸引，[3]并向高中和大学的报纸提供过图像和文字。[4]

 
法朗士·麦绥莱勒于1919年发表的太阳（英语：The Sun (wordless novel)）是瓦尔德读到的第一部无字小说

1926年，瓦尔德获得美术大学学位[5]，此后他与作家梅·麦克尼尔（英语：May McNeer）结婚并一起在欧洲度过了时间较长的蜜月期。[6]瓦尔德在德国莱比锡花了一年时间学习木版画（英语：wood engraving），在这里他接触到了德国表现主义艺术并读到了佛兰芒木刻版画艺术家法朗士·麦绥莱勒（1889年-1972年）所写的无字小说太阳（英语：The Sun (wordless novel)）[a]（1919年）。瓦尔德回到了美国并成为了一名制作插图的自由职业者。In New York City in 1929, he came across the wordless novel Destiny[b] (1926) by German artist Otto Nückel（英语：Otto Nückel） (1888–1955).[8] Nückel's only work in the genre, Destiny told of the life and death of a prostitute in a style inspired by Masereel's, but with a greater cinematic flow.[5] The work inspired Ward to create a wordless novel of his own: Gods' Man（英语：Gods' Man） (1929).[8] In his second such work, Madman's Drum, he hoped to explore more deeply the potential of the narrative medium, and to overcome what he saw as a lack of individuality in the characters in Gods' Man.[9]

生产和出版历史

瓦尔德为狂人之鼓制作了118张木刻画。[10]这些黑白[11]图像的尺寸各不相同，测量结果表明它们的大小在4乘3英寸（10.2乘7.6厘米）和5乘4英寸（13乘10厘米）之间。[10]Cape & Smith published the book in October 1930 in trade and deluxe editions,[12] the latter in a signed edition limited to 309 copies.[13] Jonathon Cape published the book in the UK in 1930. It had a Japanese publication in 2002 by Kokusho Kankōkai​（日语）, and in 2005 Dover Publications（英语：Dover Publications） brought it back into print as a standalone edition in the US.[14] It appeared in the collected volume Storyteller Without Words: The Wood Engravings of Lynd Ward in 1974,[14] and again in 2010 in the Library of America collection Lynd Ward: Six Novels in Woodcuts, edited by cartoonist Art Spiegelman（英语：Art Spiegelman）.[15] The original woodblocks are in the Lynd Ward Collection in the Joseph Mark Lauinger Memorial Library at Georgetown University in Washington, DC.[16]

风格和评析

[[:File:Madman's Drum - leaning against tree.gif|thumb|alt=Illustration of a man leaning against a tree|Ward used a greater variety of tools than in Gods' Man（英语：Gods' Man）: a multiple-tint tool for the parallel lines in the sky, and rounded tools for organic textures in the trees.]]

狂人之鼓拥有更丰富的角色和更复杂的情节，是一部比诸神宠儿更有雄心的作品。The book is more explicit in its radical leftist politics, and includes a subplot in which the main character's sister's communist lover is executed for his political beliefs.[17] Late in life Ward described it as "set a hundred years or more ago ... in an obviously foreign land", but that the story's situation and characters could be encountered "almost anywhere at any time".[18]

The art has a variety of line qualities and textures, and more detail than in Gods' Man. Ward availed himself of a larger variety of engraving tools, such as the multiple-tint tool for making groups of parallel lines, and rounded engraving tools for organic textures.[19] The large cast of characters is distinguished by visual details in faces and clothing, such as the main character's sharp nose and receding hairline and his wife's checked dress.[20]

A wide range of emotions such as resentment and terror is expressed through exaggerated facial expressions.[21] Ward broadens his use of visual symbolism, as with a young woman's purity represented by a flower she wears—she is deflowered by a young man whose vest is adorned with flowers.[10] His house also displays a floral stucco pattern and is adorned with phallic spears and an exultant rooster as a weathervane.[20] To French comics scripter Jérôme LeGlatin​（法语）, the "madman" in the title could be interpreted as any of a number of its characters: the laughing image adorning the drum, the subdued African, the slave trader, and even Ward himself.[22]

反应和遗产

虽然狂人之鼓的销量并没有像诸神宠儿那么理想，[18]这本于1930年发行的书籍还是受到了好评。[23]The success of Ward's first two wordless novels led American publishers to put out a number of such books, including Nückel's Destiny in 1930, as well as books by Americans and other Europeans.[24] Interest in wordless novels was short-lived,[25] and few besides Masereel and Ward produced more than a single work.[26] Each of Ward's sold fewer copies than the last, and he abandoned the genre in 1940 after abandoning an attempt at a seventh.[27] In 1943 psychologist Henry Murray（英语：Henry Murray） used two images from Madman's Drum in his Thematic Apperception Test（英语：Thematic Apperception Test） of personality traits.[24]

A reviewer for The Burlington Magazine（英语：The Burlington Magazine） in 1931 judged the book a failed experiment, finding the artwork uneven and the narrative hard to follow without even the chapter titles as textual guidance that Gods' Man had.[28] Cartoonist Art Spiegelman（英语：Art Spiegelman） considered Ward's second wordless novel a "sophomore slump",[29] whose story was bogged down by Ward's attempt to flesh out the characters and produce a more complicated plot. He believed the artwork was a mix of strengths and weaknesses: it had stronger compositions, but the more finely engraved images were "harder to read",[17] and the death of the wife and other plot points were unclear and difficult to interpret. Spiegelman considered Ward to have broken free from this slump by streamlining his work in his next wordless novel, Wild Pilgrimage（英语：Wild Pilgrimage） (1932).[30] Jérôme LeGlatin declared Madman's Drum Ward's first masterpiece, "[triumphing] at every fault, [succeeding] in each failure" as Ward freed himself from the restraint displayed in Gods' Man.[22]

注释

  1. ^ 德語：Die Sonne; originally 法語：Le Soleil[7]
  2. ^ 德語：Schicksal : eine Geschichte in Bildern

参考来源

脚注

  1. ^ Spiegelman 2010b，第799頁.
  2. ^ Beronä 2008，第41頁.
  3. ^ Spiegelman 2010b，第801頁.
  4. ^ Spiegelman 2010b，第802–803頁.
  5. ^ 5.0 5.1 Spiegelman 2010a，第x頁.
  6. ^ Spiegelman 2010b，第803–804頁.
  7. ^ Beronä 2008，第244頁.
  8. ^ 8.0 8.1 Spiegelman 2010b，第804–805頁.
  9. ^ Spiegelman 2010a，第xiv頁.
  10. ^ 10.0 10.1 10.2 Beronä 2008，第52頁.
  11. ^ Ward & Beronä 2005，第iii頁.
  12. ^ Spiegelman 2010b，第806頁.
  13. ^ Ahearn & Ahearn 2002，第1998頁.
  14. ^ 14.0 14.1 Beronä 2008，第245頁.
  15. ^ Lynd Ward: Six Novels in Woodcuts的馆藏信息（WorldCat在线联合目录）<
  16. ^ Smykla 1999，第53頁.
  17. ^ 17.0 17.1 Spiegelman 2010a，第xv頁.
  18. ^ 18.0 18.1 Beronä 2003，第67頁.
  19. ^ Ward & Beronä 2005，第iii–v頁.
  20. ^ 20.0 20.1 Ward & Beronä 2005，第iv頁.
  21. ^ Ward & Beronä 2005，第iv–v頁.
  22. ^ 22.0 22.1 LeGlatin 2012.
  23. ^ Walker 2007，第27頁.
  24. ^ 24.0 24.1 Ward & Beronä 2005，第v頁.
  25. ^ Beronä 2003，第67–68頁.
  26. ^ Willett 2005，第131頁.
  27. ^ Ward & Beronä 2009，第v頁.
  28. ^ E. P. 1931，第99頁.
  29. ^ Spiegelman 2010a，第xvi頁.
  30. ^ Spiegelman 2010a，第xv–xvi頁.

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