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使用者: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）是一部由美國作家林德·瓦爾德（英語：Lynd Ward）（1905年-1985年）創作的無字小說，於1930年出版。狂人之鼓是瓦爾德六本無字小說中的第二部。書中的118幅木版畫（英語：wood engraving）講述了一個奴隸販子的故事，他殺害了一個非洲人並從他那偷走了一個鼓，鼓上刻有一個惡魔的臉，而這些行為對他和他的家人造成了影響。

瓦爾德的第一部無字小說是1929年的諸神寵兒（英語：Gods' Man），而他在媒體上則表示他對第二部作品狂人之鼓更加雄心勃勃：人物更加微妙細緻，情節更加成熟複雜，對社會不公的憤怒也更加清晰。瓦爾德在藝術品中使用了更多的雕刻工具，以此表達出更多的細節，他對象徵主義和誇張面部表情的運用也變得更加富有表現力。

這本書在發行後得到了不錯的評價，兩部無字小說的成功也促使了出版商去出版更多的無字小說。1943年，心理學家亨利·默里（英語：Henry Murray）在他關於人格特質的主題統覺測驗（英語：Thematic Apperception Test）（TAT）中使用了兩張狂人之鼓的圖畫。狂人之鼓並沒有諸神寵兒那麼成功，此外，瓦爾德的第三部作品野蠻的朝聖（英語：Wild Pilgrimage）（1932年）內容也精簡了些。

劇情簡介

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一個奴隸販子從一個非洲人手中偷走了一個帶有魔鬼臉的鼓，而他的家庭為此遭到了詛咒。他變成了有錢人並為家人買了一個豪宅，把搶來的鼓和殺死原主人的劍拿出來炫耀。奴隸販子的兒子在鼓上玩耍，結果奴隸販子毆打了兒子並讓他去讀書學習。後來奴隸販子試圖返回非洲，結果在海上迷路了。

奴隸販子的兒子後來開始專心學習並遠離了同伴們的惡習。他起初是信奉宗教的，但後來開始排斥宗教，並把信奉的十字架摔在了地上，結果十字架竟然彈了起來，還砸死了他的母親。他後來成為了一名成功的科學家，在中年結婚並生了兩個女兒，但長期以來一直對家人態度冷淡、漠不關心。此後，他的家人開始一個接一個地離他遠去：他的妻子愛上了一位鋼琴家並在此後離奇死亡，一個女兒的情人因他的共產主義同情心而被絞死，這使她染上了抑鬱症，另外一個女兒則愛上了一個男人，而男人卻拉攏她與其他人發生了不正當關係。一切接近他的人都離他而去，這些事件最終逼瘋了他。他開始把禁鼓配備在了身旁，與他妻子的情人音樂家一起沉醉於音樂之中。

創作背景

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林德·瓦爾德（英語：Lynd Ward）（1905年-1985年）出生於美國芝加哥，[1]他的父親是一位循道宗牧師、社會活動家和美國公民自由聯盟的第一任主席——哈里·F·瓦爾德（英語：Harry F. Ward）。在他的職業生涯中，他父親對社會不公的興趣影響到了瓦爾德的早期作品。[2]他從小就被藝術所吸引，[3]並向高中和大學的報紙提供過圖像和文字。[4]

 
法朗士·麥綏萊勒於1919年發表的太陽（英語：The Sun (wordless novel)）是瓦爾德讀到的第一部無字小說

1926年，瓦爾德獲得美術大學學位[5]，此後他與作家梅·麥克尼爾（英語：May McNeer）結婚並一起在歐洲度過了時間較長的蜜月期。[6]瓦爾德在德國萊比錫花了一年時間學習木版畫（英語：wood engraving），在這裡他接觸到了德國表現主義藝術並讀到了佛蘭芒木刻版畫藝術家法朗士·麥綏萊勒（1889年-1972年）所寫的無字小說太陽（英語：The Sun (wordless novel)）[a]（1919年）。瓦爾德回到了美國並成為了一名製作插圖的自由職業者。In New York City in 1929, he came across the wordless novel Destiny[b] (1926) by German artist Otto Nückel（英語：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（英語：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]

生產和出版歷史

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瓦爾德為狂人之鼓製作了118張木刻畫。[10]這些黑白[11]圖像的尺寸各不相同，測量結果表明它們的大小在4乘3英寸（10.2乘7.6公分）和5乘4英寸（13乘10公分）之間。[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​（日語）, and in 2005 Dover Publications（英語：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（英語：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]

風格和評析

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[[: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（英語：Gods' Man）: a multiple-tint tool for the parallel lines in the sky, and rounded tools for organic textures in the trees.]]

狂人之鼓擁有更豐富的角色和更複雜的情節，是一部比諸神寵兒更有雄心的作品。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​（法語）, 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]

反應和遺產

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雖然狂人之鼓的銷量並沒有像諸神寵兒那麼理想，[18]這本於1930年發行的書籍還是受到了好評。[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（英語：Henry Murray） used two images from Madman's Drum in his Thematic Apperception Test（英語：Thematic Apperception Test） of personality traits.[24]

A reviewer for The Burlington Magazine（英語：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（英語：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（英語：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]

注釋

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

參考來源

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腳註

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  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的館藏信息（WorldCat在線聯合目錄）<
  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.

文獻

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