这些天很少写 LJ 了，没什么时间，也没什么好说的。上班时，对付那些代码，设计得一塌糊涂，自己又不知
First British edition published in three volumes on March 16, 1849 by Richard Bentley, London. First American edition published in two volumes on April 14, 1849 by Harper & Brothers, New York.
Disappointed by the sales of Omoo, averse to publishing fiction at any rate, and unhappy with the state of international copyright law and Melville's high asking price, John Murray rejected the manuscript of Mardi. Melville's British agent then offered the book to Richard Bentley, who paid Melville 200 guineas for the right to publish the new work.
Mardi was originally intended as a fictional South Seas adventure story, an idea Melville claimed was inspired by the many attacks upon the veracity of Typee and Omoo. As the story progressed, however, he began to slide increasingly into satire and metaphysical speculation, eventually displacing his customary first-person narrator in favor of three external characters representing philosophical, narrative, and poetic voices, with a fourth to mediate between them. The resulting book revealed the first blossoming of the intellectual growth and spiritual searching that would shape Melville's later works, but it sold poorly and most readers were annoyed by its confused construction and continual "rhapsodising".
Contemporary Criticism and Reviews
If this book be meant as a pleasantry, the mirth has been oddly left out -- if as an allegory, the key of the casket is "buried in ocean deep" -- if as a romance, it fails from tediousness -- if as a prose-poem, it is chargeable with puerility. Among the hundred people who will take it up, lured by their remembrances of Typee, ninety readers will drop off at the end of the first volume; and the remaining nine will become so weary of the hero when for the seventh time he is assaulted by the three pursuing Duessas who pelt him with symbolical flowers, that they will throw down his chronicle ere the end of its second third is reached.... --Henry Fothergill Chorley, in London Athenaeum, March 24 1849
The work is a compound of Robinson Crusoe and Gulliver's Travels, seasoned throughout with German metaphysics of the most transcendental school. The great questions of natural religion, necessity, free-will, and so on.... are treated with much ingenuity, and frequently with a richness of imagination which disguises the triteness of the leading ideas. Politics take their share of the work -- not often well, sometimes most absurdly illustrated. The habits of modern society come in for an occasional fling. But the great merit of the work is its fanciful descriptions of nature amid all her variations. Some of the cleverest, even the most brilliant, passages occur when the author fairly gives himself up to his own singular and quaint contemplations of nature....
Altogether we regard this as a remarkable book. When a man essays a continual series of lofty flights, some of his tumbles will be sufficiently absurd; but we must not be thus hindered from admiring his success when he achieves it. --London Atlas, March 24 1849
... [I]t is almost needless to say that we were disappointed with Mardi. It is not only inferior to Typee and Omoo, but it is a really poor production. It ought not to make any reputation for its author, or to sell sufficiently well to encourage him to attempt any thing else. --Charles Gordon Greene, in Boston Post, April 18 1849
另外今天的玩具是 gaim-libnotify 和 beryl 的 snow 效果。很好玩！总算是有点热闹了。还有那只 Wanda 小鱼。