【導讀】摘要:N·斯科特·莫馬黛于1968年出版的《黎明之屋》是第一部獲得普利策獎的印第安文學作品。的現(xiàn)代都市生活兩個世界之間的心路歷程。在自身身份的迷失和再次獲得之間，他的心理狀態(tài)先后經(jīng)歷了三。印第安的文化中去，并成為傳統(tǒng)文化的傳承者。本文通過上述三個心理狀態(tài)的階段性分析，揭示了這種轉(zhuǎn)變。背后的印第安傳統(tǒng)文化對于一個迷失者的引導和治愈作用。

　　

【正文】 ers. The process of degeneration resulting from this lack of stability reaches its climax in Abel’s struggle with the murderous police officer and subsequently with death itself. This event declares Abel’s entire failure of his effort to melt into the white world. He gives up everythingjob, love, friends… . Abel is reeling on the edge of the void (Momaday 46), but he does not fall. In “The Night Chanter” chapter, it is not only the fragmentary structure which precludes any easy interpretation of this crucial chapter. When the seemingly unrelated symbols are bined in a coherent pattern does the full meaning of each scene surface. The imagery and Abel’s love of the land make a role of healing as this moment. By the power of nature, Abel regains his identity and his mentality reconstructs through the healing process. He stands up again, as a new man, as a true Indian. A. Rebirth from Mental Death Too much physical and mental torture does not make Abel fall. He es back to the reservation halfdead, and his grandpa’s death makes him even more lonely in this world, but his growing understanding of Indian traditions, the healing power of the traditions as well as the nature save him. This point is not revealed in the novel directly but through images and symbols, which suggest the change in Abel’s mentality After he is beaten nearly to death the sight of the fish and the moon suggests his mental revival as he regains the deep understanding of the tradition. 1. Transforming Like the Fish Abel is almost dead after being beaten on thrown on the beach, which is a symbol of his death during his struggle between two worlds. All his efforts end to be fruitless. Now he has to make a choice between death and change and naturally he chooses the latter one. He can find the transformation of his mentality from the fish imagery. Abel’s connection with the fish reinforces the meaning of his transformation: There is a small silversided fish that is found along the coast of southern California. In the spring and summer it spawns on the beach during the first three hours after each of the three high tides following the highest tide. These fish e by the hundreds from the sea. They hurl themselves upon the land and writhe in the light of the moon, the moon, the moon。 they writhe in the light of the moon. They are among the most helpless creatures on the face of the earth. 哈爾濱工業(yè)大學 2020 屆本科優(yōu)秀畢業(yè)設計（論文）選集 445 (Momaday 83) The meaning of this seemingly unimportant descriptive passage bees gradually apparent through the affiliation of Abel with the fish. Like them he is lying on the beach. He too is a helpless creature removed from the natural element of his native culture. In his delirious state Abel’s thoughts constantly return to the fish, “His mind boggled and withdrew… and it came around again to the fishes” (Momaday 93). He feels a kind of sympathy for the “small silversided fishes spawned mindlessly in correlation to the phase of the moon and the rise and fall of the tides.” The thought of it makes him sad, fills him with sad, unnamable longing and wonder. Finally Abel is directly identified with fish, “He had the sense that his whole body was shaking violently, tossing and whipping, flopping like a fish.” (Momaday 106) The fish imagery not only reflects Abel’s suffering but also indicates the upward movement in his development after he has bee aware of his situation. When Abel raises the energy to fight against and eventually escape the drift towards death, the fish too have found their way back to safety in the depth of the sea, as Abel will eventually return home to his tribal munity:“And far out in the night where nothing else was, the fishes lay out on the black water, holding still against all the force and motion of the sea。 or close to the surface, darting and rolling and spinning like lures, they played in the track of the moon.” (Momaday 112) 2. The Healing of the Moon The most plex symbol Momaday employs in the novel is that of the moon. The mon denominator in a number of scenes throughout the novel, it brings the various episodes together in Abel’s and the reader’s mind. The moon, of course, is also associated with the sea and the initiation ritual. Most important, however, it is Abel’s realization of the cosmic significance of the moon which brings about his new understanding of a universal order. And this change also indicates Abel is on his way of reentering the Indian culture because his understanding of the tradition is deepened. Here the moon, as a part of Indian culture, makes a role of healing in the whole process of Abel’s seeking of his identity. To appreciate the subtlety of this image pattern, we need to scrutinize in detail its various functions. The moon’s reappearance after her three days’ “death” has traditionally been read as a symbol of rebirth, too. The Juan Capistrano Indians of California, according to James Frazer, declared, “As the moon dieth and eth to life again, so we also, having to die, will again raise.”(Shi Jian 174) In a number of shamanistic initiation rites the novice is “broken in pieces” in analogy to the phases of the moon. Among the plains Indians it was customary to focus one’s eyes on the moon in order to secure help in a moment of distress (Wilson 88). The Pueblo medicinewater chief implored the moon to give him power to see disease. With this information the prominence of the moon image in Abel’s consciousness bees more readily intelligible. “He awoke coughing。 there was blood in his throat and mouth. He was shuddering with cold and pain… . He peered into the night: all around the black land against the starbright, moonbright sky.” (Momaday 95) In the instance the moon image connects Abel’s present and past experience. In recollecting the dying water bird, with its fearless black eyes, Abel can establish a link betwe