神話漸成真:對C.S.路易斯《裸顏》之研究

Abstract

《裸顏》作為Ｃ.Ｓ. 路易斯最後一部小說，可以說是他的成熟之作。這部小說對希臘神話＜邱比特與賽姬＞進行改寫，和他過去明確指涉基督教的創作不同，在核心訊息上較為晦澀不明。路易斯試著闡述古老神話與基督信仰之間的關係，以及神話與現實這看似對立的兩者如何在他的信仰中達到和諧。藉由賽姬的姊姊奧璐兒做為主述者以及「看不見的宮殿」等設計，在古老的神話脈絡中加入基督教精神以及神學美德等概念；奧璐兒對自我的迷失與追尋，則述說自我認識和反省錯誤的重要性，並透過一段段旅程，了解救贖來自內心的改變與成長，在最後將神話中隱藏的信息，引向基督信仰的真義以及人與神的和解。本論文旨在探討路易斯在小說中對神話與信仰的解讀，及他藉此傳達的對最終救贖的看法。對小說的解析將集中在文本本身並與路易斯其他神學作品進行互文分析，希望能更好地彰顯其畢生對神話與信仰的理解。Till We Have Faces as C.S. Lewis’s last fiction could be considered his most mature work. As a retold version of Greek mythology “Cupid and Psyche,” the novel is different from his former books which are often with explicit Christian reference but more subtle and obscure with the central message. Lewis tries to illustrate his opinion of the relationship between ancient mythology and Christian faith through the story and argues how the two seemingly opposite idea of myth and fact can find their harmony in his religious belief. With Psyche’s sister Orual as the narrator and the design of the invisible palace, we can see that the Christian spirit and theological virtues are implanted into the old myth; in deciphering Orual’s loss and regaining of identity, revealing the importance of self-recognition and facing the mistakes, which can only be reached through journeys that bring change and growth in mind. The message hidden in mythology, in the end, points back to the true faith in Christianity and reconciliation with God. The thesis aims to discuss Lewis’s understanding of myth and religion in the novel, and how he demonstrates in their relationship his idea of final redemption. The interpretation of the novel would mainly focus on the textual context, along with the intertextual study of Lewis’s own theological works, in hope to better present Lewis lifelong recognition on both myth and faith.