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地狱(英文原著)--丹·布朗

时间:2013-11-30 14:15:52  来源:  作者:丹·布朗  [ 下载本书 ]
简介:《炼狱》的主人公是回归的哈佛大学符号学教授罗伯特·兰登,小说以意大利为故事背景,以但丁的史诗《神曲2:炼狱篇》为中心,展开的一系列惊心动魄的历险故事。丹·布朗在小说中巧妙地融合了历史、艺术、密码和符号等元素,创造了一部崭新的惊悚悬疑小说。在谈到新书的创作过程时,丹·布朗称自己研读了6个月的相关资料,包括几个版本的《神曲》译本,不同的但丁研究者的注释,关于但丁的生平、哲学的历史文本以及关于佛罗伦萨的背景阅读,之后还前往佛罗伦萨和威尼斯,拜见了一些艺术史学家、图书馆学家和学者。...
  With his heart pounding, Knowlton glanced back at the paused image of the beak-nosed shadow.
  Mankind, if unchecked, functions like a cancer.
  Unchecked. Knowlton did not like the sound of that.
  With a hesitant finger, he started the video again.
  The muffled voice continued.
  To do nothing is to welcome Dante’s hell … cramped and starving, weltering in Sin.
  And so boldly I have taken action.
  Some will recoil in horror, but all salvation comes at a price.
  One day the world will grasp the beauty of my sacrifice.
  For I am your Salvation.
  I am the Shade.
  I am the gateway to the Posthuman age.
  CHAPTER 34
  THE PALAZZO VECCHIO resembles a giant chess piece. With its robust quadrangular facade and rusticated square-cut battlements, the massive rooklike building is aptly situated, guarding the southeast corner of the Piazza della Signoria.
  The building’s unusual single spire, rising off center from within the square fortress, cuts a distinctive profile against the skyline and has become an inimitable symbol of Florence.
  Built as a potent seat of Italian government, the building imposes on its arriving visitors an intimidating array of masculine statuary. Ammannati’s muscular Neptune stands naked atop four sea horses, a symbol of Florence’s dominance in the sea. A replica of Michelangelo’s David—arguably the world’s most admired male nude—stands in all his glory at the palazzo entrance. David is joined by Hercules and Cacus—two more colossal naked men—who, in concert with a host of Neptune’s satyrs, bring to more than a dozen the total number of exposed penises that greet visitors to the palazzo.
  Normally, Langdon’s visits to the Palazzo Vecchio had begun here on the Piazza della Signoria, which, despite its overabundance of phalluses, had always been one of his favorite plazas in all of Europe. No trip to the piazza was complete without sipping an espresso at Caffè Rivoire, followed by a visit to the Medici lions in the Loggia dei Lanzi—the piazza’s open-air sculpture gallery.
  Today, however, Langdon and his companion planned to enter the Palazzo Vecchio via the Vasari Corridor, much as Medici dukes might have done in their day—bypassing the famous Uffizi Gallery and following the corridor as it snaked above bridges, over roads, and through buildings, leading directly into the heart of the old palace. Thus far, they had heard no trace of footsteps behind them, but Langdon was still anxious to exit the corridor.
  And now we’ve arrived, Langdon realized, eyeing the heavy wooden door before them. The entrance to the old palace.
  The door, despite its substantial locking mechanism, was equipped with a horizontal push bar, which provided emergency-exit capability while preventing anyone on the other side from entering the Vasari Corridor without a key card.
  Langdon placed his ear to the door and listened. Hearing nothing on the other side, he put his hands against the bar and pushed gently.
  The lock clicked.
  As the wooden portal creaked open a few inches, Langdon peered into the world beyond. A small alcove. Empty. Silent.
  With a small sigh of relief, Langdon stepped through and motioned for Sienna to follow.
  We’re in.
  Standing in a quiet alcove somewhere inside the Palazzo Vecchio, Langdon waited a moment and tried to get his bearings. In front of them, a long hallway ran perpendicular to the alcove. To their left, in the distance, voices echoed up the corridor, calm and jovial. The Palazzo Vecchio, much like the United States Capitol Building, was both a tourist attraction and a governmental office. At this hour, the voices they heard were most likely those of civic employees bustling in and out of offices, getting ready for the day.
  Langdon and Sienna inched toward the hallway and peered around the corner. Sure enough, at the end of the hallway was an atrium in which a dozen or so government employees stood around sipping morning espressi and chatting with colleagues before work.
  “The Vasari mural,” Sienna whispered, “you said it’s in the Hall of the Five Hundred?”
  Langdon nodded and pointed across the crowded atrium toward a portico that opened into a stone hallway. “Unfortunately, it’s through that atrium.”
  “You’re sure?”
  Langdon nodded. “We’ll never make it through without being seen.”
  “They’re government workers. They’ll have no interest in us. Just walk like you belong here.”
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