瘂弦詩中的戲劇性角色原型

Abstract

本文以《瘂弦詩集》中的戲劇性角色為考察對象，結合榮格學派心理學者皮爾森（Carol S. Pearson）之心理原型理論，以及瘂弦的身世經歷與創作意識，針對瘂弦詩中戲劇性角色之心理原型展開分析，藉此挖掘詩人埋藏於詩作深處的人文內涵與個人內在心靈意識。 正文部分，依照皮爾森心理原型理論所述之六種人格原型成長進程作為章節安排，分別為天真者、孤兒、流浪者、鬥士、殉道者以及魔法師，以下為各章節內容。 此前各家所論之瘂弦詩，多見「人物詩」與「戲劇性」之特色歸納，故於首章澄清「戲劇性角色」定義，檢視瘂弦詩中角色之囊括範疇與戲劇性元素，證明瘂弦詩中的戲劇性特色並非空論。接續第貳章分析其詩作中呈現天真者原型人格之詩作角色，歸納此一部分詩作之共同意象，並探討角色之性格傾向、詩作意象，與詩人故鄉、母親意象之關聯。 第參章由詩人離鄉從軍的身世背景論起，分析詩中帶有懷鄉意識的孤兒原型角色；其次進入孤兒原型人格發展的反抗階段，此部分角色多凝聚於底層人物與戰爭母題詩作，故筆者由此二層面析論詩人如何經由書寫，揭露人類生存期間所遭遇到的威脅；第三節則針對近代科學、理性主義至上的社會思維，人文精神遭到貶抑的現象提出抗議，透過詩中所刻畫的「過度孤兒化」角色，揭露人類文明面臨的災難。 第肆章的一、二節首先探究瘂弦詩中流浪者原型角色的心理背景——囚禁意識，接續論述角色的具體流浪情節，其人格發展的階段性目標在於突破社會賦予的應然角色之枷鎖，此為其一。另一方面則探討詩人身處新舊時代接壤，如何藉流浪者原型角色呈現詩人追尋、耕耘現代詩藝之心路歷程，為本節探索的第二層切面。最後討論人格傾向為鬥士原型之戲劇性角色，並析理此一原型角色與前述原型角色數量有明顯差異之成因。 第伍章由瘂弦的詩觀與創作意識作為切入角度，探析詩人企圖透過現代詩創作以及戲劇性角色的犧牲情節，展現願為文學藝術與芸芸眾生殉道奉獻的心跡，呼應詩人「搜集不幸」的創作職志與理念。最後，對心理原型理論最終人格階段——魔法師原型——之戲劇性角色展開分析，此一原型的人格特徵為突破二元對立價值觀、積極肯定生命的存在意義，可將之視為瘂弦欲藉由文學探索的「世界終極學」之註解。 綜觀瘂弦詩作中的諸多戲劇性角色，不僅抒發小我之情，更兼傾訴大我之義，縱有心理原型之差異，卻能同時呈現出人類的集體共性。The aim of this study is by utilizing Jungian psychologist Carol S. Pearson’s theory of psychological archetypes along with Taiwanese poet’s Ya-Hsien (Ya-Xian) personal background and writing consciousness, to analyze the dramatic characters in his poems collected in The Poetry Anthology of Ya-Hsien (瘂弦詩集), and thereby to explore the cultural connotations and personal spiritual consciousness hidden by the poet in his poetry. The chapters in this study are arranged according to Pearson’s six psychological archetypes, namely the Innocent, the Orphan, the Wanderer, the Warrior, the Altruist, and the Magician. Below are the contents of each chapter. As the characteristics of “dramatic property” and “persona poetry” are frequently pointed out by many critiques on Ya-Hsien’s poetry, the first chapter of this thesis will firstly clarify the definition of “dramatic character,” and then scrutinize the framework of characters and the dramatic elements in Ya-Hsien’s poems to prove that the discussion of dramatic characters in Ya-Hsien’s poetry is not out of thin air. Afterwards, the characters belong to the archetype of the Innocent will be analyzed, and the common imagery of these poems will be perused. The relation between these characters’ personality inclination and the poems’ imagery, and the poet’s hometown and the imagery of mother will also be discussed. In the third chapter, I will begin with the poet’s background of leaving home for army to analyze the characters belong to the archetype of the Orphan, who have a consciousness of nostalgia. And then I will step further into the stage of rebellion of the Orphan archetype. As the characters involved in this archetype are mostly in the poems of which most of the focus lies in low-class people and war, I will examine through these two dimensions how the poet reveals threats that human beings are forced to face during his/her lifetime. Finally, in the third section of this chapter, I intend to demur the science and rationalism worshiping notion of the modern society which neglects and deprecates the spirit of humanity, and to uncover the disaster with which human civilization is confronted through lens of the “overly orphaned” characters in the poems. And then I will start the discussion from the psychological background, namely the consciousness of imprisonment, of the characters identified as the Wanderer archetype to delineate their plots of wandering in detail in the first two sections in the fourth chapter,. By doing so I intend to show that the goal in each stage of these characters’ personality development is to emancipate themselves from the ought-to-be expectation imposed by the society. Ensuingly, I am to articulate how the poet manifests his history of pursuing and dedicating to modern poetry through the Wanderer characters, as he is standing at the boundary of new and old era. In the end of this chapter, dramatic characters of the Warrior archetype, and the reason why the amount of characters that belong to this archetype is obviously less than ones of the other archetypes mentioned above will be discussed. Finally in the fifth chapter, I will try to explore and interpret how the poet demonstrates the psychological trace of his sacrificial spirit for literature and all lives existent in the world, as the archetype of the Altruist, through sacrificial plots of the dramatic characters in his modern poetry writings, and thereby to echo with the his philosophy of “collecting misfortunes” in poetry writing. In the end of the chapter, as well as the thesis, I will analyze the archetype of ultimate stage of personality development, namely the Magician. As the characteristic of this archetype is breaking through binary values and positively affirming the meaning of life, I contend that this archetype of personality can be seen as the annotation of the “ultimate philosophy of the world” which Ya-Hsien tries to explore by means of literature. The dramatic characters in Ya-Hsien’s poetry not only voice for ego’s emotions but articulate the morality and ethical values of the greater community. Although these archetypes are divergent from one another, they manifest collectively humans’ common natures.