Hitting Billy: Mediated Interiority in Billy Budd
Hitting Billy: Mediated Interiority in Billy Budd
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打击比利：比利巴德的中介内在性
DOI：
10.1093/litimag/imac008
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发表时间：
2022
影响因子：
0.1
通讯作者：
Yoshiaki Furui
中科院分区：
文献类型：
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作者：
David Thomas Henry Wright;Chris Arnold;小嶋ちひろ;樊可人;樊可人;呉 修喆;呉 修喆;西谷茉莉子;代珂;西谷茉莉子;代珂;代珂;代珂;関根路代;代珂;代珂;関根 路代;原雅樹;Yoshiaki Furui;Yoshiaki Furui
赫尔曼梅尔维尔的比利巴德，水手（一个内部叙事）附带一个括号的副标题，邀请读者问在什么意义上这部作品是“一个内部叙事”。乍一看，答案似乎很明显，因为这个副标题是指的故事，否则封闭的世界的海军船舶的bellopotent和邀请我们内部的心理英俊的水手，比利巴德。在叙述的早期，叙述者声称即将展开的故事仅限于“一艘特定船只的内心生活和一个水手的职业生涯”。[1]但是，如果我们问这种叙述在多大程度上暴露了主人公的身份，这个问题就变得更加难以回答了。梅尔维尔毕生的兴趣是通过质疑他笔下人物心理的内部空间来表现他者的异质性。[2]在他的许多作品中，梅尔维尔所描绘的人物的沉默或与世隔绝使他们具有强烈的个性，使读者无法进入他们的内心深处。《抄写员巴特比》（1853年）中的巴特比可以说是梅尔维尔全部作品中最神秘的角色，当他说出他的标志性短语“我宁愿不”时，他拒绝工作就可以看出这一点。在整个中篇小说中，巴特比保持沉默，从来没有开口透露他自己的话。在《贝尼托·切雷诺》（Benito Cereno，1855年）中，巴博是一个叛乱的头目，他在法庭上保持沉默，毫无异议地接受了死刑判决。中篇小说结束时，他被斩首的脸默默地看着观众和读者。《自信的人》（1857）中的黑几内亚默默地忍受着人们的嘲笑，吞下了他的“秘密情感”。3这些人物引起读者的兴趣，因为他们不可能
Herman Melville’s Billy Budd, Sailor (An Inside Narrative) comes with a parenthetical subtitle, which invites the reader to ask in what sense this work is “an inside narrative.” At first glance, the answer seems obvious as this subtitle refers to the story of the otherwise closeted world of the naval ship of the Bellipotent and invites us inside the psychology of the handsome sailor, Billy Budd. In the early part of the narrative, the narrator claims that the story about to unfold is restricted to “the inner life of one particular ship and the career of an individual sailor.” 1 But the question becomes more difficult to answer if we ask to what extent this narrative exposes the interiority of the protagonist. Melville had a lifelong interest in representing the alterity of the other by problematizing the interior space of his characters’ psychology. 2 In many of his works, Melville portrays characters whose silence or incommunicability strongly individuates them, rendering their interior recesses enigmatically inaccessible to the reader. Bartleby in “Bartleby the Scrivener”(1853) is arguably the most enigmatic character in Melville’s oeuvre, as can be seen through his refusal to work when he utters his iconic phrase,“I would prefer not to.” Throughout the novella, Bartleby remains silent, never opening his mouth to disclose his interiority through his own words. Babo, a ringleader of a mutiny in “Benito Cereno”(1855), remains silent in court, accepting his death sentence without objection. The novella ends with his beheaded face silently looking at the spectator and the reader. Black Guinea in The Confidence-Man (1857) silently withstands people’s taunts, swallowing his “secret emotions.” 3 These characters intrigue the reader because of the impossibility of