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題 名 | Irony and Paradox in Christopher Marlowe's Shaping of Doctor Faustus--the Hero's Exertion of His Complicated Will=馬羅塑造浮士德一角時使用的反諷與似謬亦真--英雄複雜意志的操作 |
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作 者 | 蘇簫化; | 書刊名 | 臺南師院學報 |
卷 期 | 28 1995.06[民84.06] |
頁 次 | 頁245-269 |
分類號 | 873.55 |
關鍵詞 | 馬羅; 浮士德; Christopher Marlowe; Doctor Faustus; |
語 文 | 英文(English) |
中文摘要 | 十六世紀英劇作家克里斯多福.馬羅的劇作浮士德,主要在探討一位超 智英雄人物之不滿於人類天生的與生存的限囿,而與成王之使簽署廿四年合約, 期以妊魂交換為所欲為的自我實之權能,代價則為合約期滿後浮士德將永墜地 獄。浮士德對 "無限"的追尋,是他殯落的主因,然綜觀諸文評家就浮士德一剌 的剖析 ,其中並無一人提出有關此一英雄之"意志"問題 。此一"批評的間隙"促 使筆者擬就劇中英雄人物的"自由意志"詳予詮釋,並就浮氏是否執其 "自由意志 "而發揮,抑或其 "意志"之宜行乃深受其他超自然之力所左右,此二點論述之。 本文第一部份即針對此一課題,擇析以下三項重要買例之涵意: (a)劇始合唱隊唱 合句中摘要敘述的浮氏離奇一生的心理貿境。(b)浮氏本人的宿命親興數次自辯後 所做的決定,其間的必然關聯。(c)浮氏良知中善惡交戰的模式一証明其精神領域 約兩難狀態,尤其是在簽署合約之前與之後的內心掙扎。此為本文之第一部份。 浮士德心妊冒險與離奇行徑明顯襯托劇作者的反諷手法。馬羅承負文藝復興時期 傳統之倫理、道德勺宗教親,自然不可能對浮士德的思想與行為採取同情的態 度。"悲劇英雄所引發的悲憫與恐惶,使得親眾愈是肯定此一英雄所棄置的傳統 價值,並堅信這些價值乃劇作者執意間揚的。"浮士德則由於追尋無限,而持紋 掙扎於其文的自我;幻象中的自我,與宇宙秩序三者之間,遂為典型之悲劇英雄。 然綜親全劇,字裡行間,昭然若揭的,則為作者就反諷與似繆亦真的手法,妞活 而普遍地使用之於浮氏的心路歷程中。此手法彰然顯現作者對浮士德的親點,與 主人翁對自我的看法二者問的差異。馬羅塑造浮士德一角時使用的反諷與似謬亦 真一英雄複雜意志的操作本文第二部份即在探討劇作者與浮士德本人對於劇中 英雄之人格與行為的極端分歧。此部包括: (a)浮士德與魔王使者的對話中,二者 互易立場後討論的關於天堂與地獄的玄學觀一其中所隱含的強烈的諷刺性。(b) 在瀕臨損落的片刻,浮士德恆幻見的靈魂的救贖。(c)依附於傳統價值體系,馬羅 對於浮士德的 "自由意志"所採的反諷態度。以上二部份旨在探測行徑離奇的悲 劇英雄,浮士德,其複雜的心理實境。以此一實境確具深度與爭議性,乃文藝復 興精神之劇作者,馬羅以反諷及似繆亦真手法處理的藝術結果。 |
英文摘要 | Christopher Marlowe's Doctor Faustus deals with a herowhose discontentment with the human limit causes him tosign a contract with Lucifer, in an attempt to gain thetwenty-four years of life span for the highest knowledgeand self-fulfillment. This quest for the limitless has beenuniversally acknowledged as the cause of his fall. Yet, thecause of this quest, the "will" that motivates such an act hasnot been examined by the Marlovian critics. The first part ofthis study is to investigate whether Faustus exerts his "freewill" or he is impelled by other factors than his own tocommit the act. The investigation includes: a) An analysis ofthe chorus speech as a compendium of Faustus' psychologicallife. b) Faustus' fatalism-its relation with his decision, c) Thepsychomachia pattern of Faustus' conscience, as an evidenceof his paradoxical reaction against his spiritual dilemma. As there is no character without action, the hero's totalact eventually underscores an ethical, didactic truth thatMarlowe, as a playwright bearing the Renaissance tradition,intends to teach his readers through this play: "The pity andterror the tragic hero evokes would leave the audienceconfirmed in their attachment to the traditional valuesbecause they are also the values of the author. " Faustus,aspiring for the limitless and the highest, frequently torn bythe reality of his self, the vision-delusion of his self andthe universal order, becomes a tragic hero. Yet, unavoidably, there are irony and paradox that lie consistently throughoutthe play, for the author's view of Faustus and the hero'sview of himself are diversified. The second part of the studyis to investigate the different views of the author and thehero-regarding the character of the hero per se. In this waywe are affirmed that irony and paradox are basicallyindispensable to Marlowe's description of the hero. Theinvestigation includes : a) The irony in which Faustus-Mephistophilis exchanged roles in their dialectical dialogues, b)Faustus' vision of redemption in his first moment ofdesturction. c) Attaching to the traditional notion of values,Marlowe's attitude toward Faustus' "free will." The above two parts of the study are meant to explorethe complicated mental reality of Dr. Faustus as a tragichero of depth and controversy shaped by the Renaissanceauthor, Christopher Marlowe. |
本系統中英文摘要資訊取自各篇刊載內容。