揭示子午线的奥秘:麦卡锡时代错误的塔罗牌

Robert A Kottage
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引用次数: 0

摘要

约翰·塞皮奇的《血子午线笔记》用一章的篇幅分析了小说中非常简短地描述的一种做法:cartomancy。虽然麦卡锡只花了大约三页的篇幅公开讨论这个问题,但塞皮奇成功地证明了塔罗牌占卜在整个文本中是一种指导原则。然而,到目前为止,无论是塞皮奇还是其他任何评论家都没有指出麦卡锡的塔罗牌不仅是一个汞合金,而且它包含了在20世纪之前没有已知的牌中发现的元素的线索。《血色子午线》中不合时宜的塔罗牌图像在一部研究彻底的作品中显得异常。但即使是这个错误也是复杂的,是研究的产物。对麦卡锡20世纪纸牌的研究提供了对文本世界中命运和自由意志的洞察。莱德-韦特的形象(一个年轻人拒绝了一只来自另一个世界的手递过来的杯子)为小说中的几个场景提供了线索,最引人注目的是格里芬堡酒吧的高潮场景。但更重要的是,它把这个孩子和一个注定要灭亡的基督联系在一起,他在客西马尼园祷告说:“我父啊,倘若可行,求你叫这杯离开我。”
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Mysteries of the Meridian Revealed: McCarthy’s Anachronistic Tarot
John Sepich’s Notes on Blood Meridian provides a chapter of analysis on a practice depicted very briefly in the novel: cartomancy. Although McCarthy only spends roughly three pages overtly treating the subject, Sepich successfully demonstrates tarot card divination to be something of a guiding principle throughout the text. However, neither Sepich nor any other critic to date has addressed the clues indicating that McCarthy’s tarot deck is not only an amalgam, but that it contains elements found in no known deck prior to the twentieth century. The anachronistic tarot images in Blood Meridian are a seeming anomaly in an otherwise thoroughly researched work. But even the error is a complicated one, a product of research. An examination of McCarthy’s twentieth-century cards provides insight on fate and free will within the world of the text. The Rider-Waite image (that of a young man refusing a cup offered by an otherworldly hand) sheds light on several scenes in the novel, most notably the climactic Fort Griffin barroom scene. But more importantly, it links the kid with a doomed Christ, who prays in Gethsemane: “O my Father, if it be possible, let this cup pass from me.”
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