Herman Melville 『Moby-Dick』 (Bantam Classic)

「Melville retreated into depression and inactivity, the long twilight of his years witnessing a steady drying up of his inspiration and energies and it was left to the twentieth century to give him recognition as having written the greatest of all American novels.」
(Charles Child Walcutt 「Herman Melville: A Biographical Note」 より)


Herman Melville 
『Moby-Dick』

Edited and with an introduction by Charles Child Walcutt

Bantam Classic (Pennant Student Edition)
Bantam Books, Inc. New York/Toronto/London, February 1967
xiv, 594pp, 17.7x10.7cm, paperback
Printed in the United States of America
The art work on the cover of this Bantam Classic is a painting by Sanford Kossin.



メルヴィル『白鯨』学生版ペーパーバック。本文に注はありませんが、巻末にメルヴィル小伝、『白鯨』関連のメルヴィル書簡抜粋、同時代の『白鯨』評と、D・H・ロレンスその他による後世(20世紀)の『白鯨』論6篇、簡略な参考文献リストが収録されています。


melville - moby-dick 01


Contents:

Introduction

MOBY-DICK
Etymology
Extracts
I. Loomings
II. The Carpet Bag
III. The Spouter-Inn
IV. The Counterpane
V. Breakfast
VI. The Street
VII. The Chapel
VIII. The Pulpit
IX. The Sermon
X. A Bosom Friend
XI. Nightgown
XII. Biographical
XIII. Wheelbarrow
XIV. Nantucket
XV. Chowder
XVI. The Ship
XVII. The Ramadan
XVIII. His Mark
XIX. The Prophet
XX. All Astir
XXI. Going Aboard
XXII. Merry Christmas
XXIII. The Lee Shore
XXIV. The Advocate
XXV. Postscript
XXVI. Knights and Squires
XXVII. Knights and Squires
XXVIII. Ahab
XXIX. Enter Ahab; to Him, Stubb
XXX. The Pipe
XXXI. Queen Mab
XXXII. Cetology
XXXIII. The Specksynder
XXXIV. The Cabin-Table
XXXV. The Mast-Head
XXXVI. The Quarter-Deck. Ahab and All
XXXVII. Sunset
XXXVIII. Dusk
XXXIX. First Night-Watch
XL. Midnight, Forecastle
XLI. Moby Dick
XLII. The Whiteness of the Whale
XLIII. Hark!
XLIV. The Chart
XLV. The Affidavit
XLVI. Surmises
XLVII. The Mat-Maker
XLVIII. The First Lowering
XLIX. The Hyena
L. Ahab's Boat and Crew. Fedallah
LI. The Spirit-Spout
LII. The Albatross
LIII. The Gam
LIV. The Town-Ho's Story
LV. Of the Monstrous Pictures of Whales
LVI. Of the Less Erroneous Pictures of Whales, etc.
LVII. Of Whales in Paint; in Teeth; etc.
LVIII. Brit
LIX. Squid
LX. The Line
LXI. Stubb Kills a Whale
LXII. The Dart
LXIII. The Crotch
LXIV. Stubb's Supper
LXV. The Whale as a Dish
LXVI. The Shark Massacre
LXVII. Cutting In
LXVIII. The Blanket
LXIX. The Funeral
LXX. The Sphynx
LXXI. The Jeroboam's Story
LXXII. The Monkey-Rope
LXXIII. Stubb and Flask Kill a Right Whale, etc.
LXXIV. The Sperm Whale's Head
LXXV. The Right Whale's Head
LXXVI. The Battering-Ram
LXXVII. The Great Heidelburgh Tun
LXXVIII. Cistern and Buckets
LXXIX. The Praire
LXXX. The Nut
LXXXI. The Pequod Meets the Virgin
LXXXII. The Honor and Glory of Whaling
LXXXIII. Jonah Historically Regarded
LXXXIV. Pitchpoling
LXXXV. The Fountain
LXXXVI. The Tail
LXXXVII. The Grand Armada
LXXXVIII. Schools and Schoolmasteres
LXXXIX. Fast-Fish and Loose-Fish
XC. Heads or Tails
XCI. The Pequod Meets the Rose-Bud
XCII. Ambergris
XCIII. The Castaway
XCIV. A Squeeze of the Hand
XCV. The Cassock
XCVI. The Try-Works
XCVII. The Lamp
XCVIII. Stowing Down and Clearing Up
XCIX. The Doubloon
C. The Pequod Meets the Samuel Enderby of London
CI. The Decanter
CII. A Bower in the Arsacides
CIII. Measurement of the Whale's Skeleton
CIV. The Fossil Whale
CV. Does the Whale Diminish?
CVI. Ahab's Leg
CVII. The Carpenter
CVIII. The Deck. Ahab and the Carpenter
CIX. Ahab and Starbuck in the Cabin
CX. Queequeg in His Coffin
CXI. The Pacific
CXII. The Blacksmith
CXIII. The Forge
CXIV. The Gilder
CXV. The Pequod Meets the Bachelor
CXVI. The Dying Whale
CXVII. The Whale Watch
CXVIII. The Quadrant
CXIX. The Candles
CXX. The Deck
CXXI. Midnight, on the Forecastle
CXXII. Midnight Aloft
CXXIII. The Musket
CXXIV. The Needle
CXXV. The Log and Line
CXXVI. The Life-Buoy
CXXVII. The Deck
CXXVIII. The Pequod Meets the Rachel
CXXIX. The Cabin
CXXX. The Hat
CXXXI. The Pequod Meets the Delight
CXXXII. The Symphony
CXXXIII. The Chase - First Day
CXXXIV. The Chase - Second Day
CXXXV. The Chase - Third Day
Epilogue

CRITICISM AND CONTEXT
Herman Melville: A Biographical Note
Letters
Moby-Dick and Its Contemporary Reviews
Moby-Dick and Its Modern Critics
 Newton Arvin, from *Herman Melville*
 John Parke, "Seven *Moby-Dicks"
 Henry Alonzo Myers, "The Tragic Meaning of *Moby-Dick*
 R. E. Watters, "Ishmael"
 D. H. Lawrence, from "Herman Melville's *Moby-Dick*
 Charles Child Walcutt, "The Fire Symbolism in *Moby-Dick*
List of Recommended Readings



melville - moby-dick 02



◆本書より◆


「I. Loomings」より:

「CALL me Ishmael. Some years ago - never mind how long precisely - having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen, and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people's hats off - then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship.」

(私のことはイシマエルとでも呼んでくれ。何年か前――正確な日付はどうでもいい――嚢中の銭もあるかなしか、陸上にはこれといって興味を惹くものもなく、これはちょっと船出してこの世界のうちの水で占められている部分を見聞しに行くのがよかろうと考えた。憂鬱を追っぱらい、血行を整えるには良い方法だ。その日ぐらしもままならなくなり、じめじめと雨の降りつづく霜月のような心になって、気がつけば棺桶屋の店先で立ちどまっていたり、ついふらふらと葬列についていったりするようになったら、そして何より下司根性が日頃の上品な振舞を忘れさせ、悪意に満ちて町へ出ては一人残らず頭に一発食らわせてやりたくなる衝動を抑えるのに強固な道徳原理を必要とするようになったら――その時こそ、取るものも取り敢えず海へ出る潮時だ。さもないとおのれの頭にピストルの弾をお見舞いする結果になりかねない。カトーだったらプラトン哲学を振りかざしつつ剣に身を投げるところだが、私は黙って船に身を任せることにしよう。)


ナサニエル・ホーソーンへの手紙(1851年)より:

「There is the grand truth about Nathaniel Hawthorne. He says NO! in thunder; but the Devil himself cannot make him say *yes*. For all men who say *yes*, lie; and all men who say *no*, - why, they are in the happy condition of judicious, unincumbered travellers in Europe; they cross the frontiers into Eternity with nothing but a carpet-bag, - that is to say, the Ego. Whereas those *yes*-gentry, never get through the Custom House. 」

(ホーソーンにまつわる偉大な真実。彼は「ノー」と言う。彼に「イエス」と言うよう強制することなど誰にもできない。「イエス」と言う者はみんなウソツキだ。そして「ノー」と言う者はみんな、ヨーロッパでは思慮深く身軽な旅行者になって、「イエス」族が税関で足止めをくらっているのを横目に、手荷物一つで、すなわち自我だけを携えて、永遠への国境を越えてゆくのだ。)

「The divine magnet is on you, and my magnet responds. Which is the biggest? A foolish question - they are *One*.」

(神の如き磁力が貴方にはあって、私の磁石はそれに反応するのです。どっちの磁石が大きいかなどと考えてみても始まりません。それらは同じものなのですから。)












































































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