他的嫉妒心想要探測這世界：被動情感的主動性

His Jealousy Longs to Plumb the Universe: On Active Passion

10.6637/CWLQ.2010.39(4).171-197

陳佩筠(Pei-Yun Chen)

普魯斯特 ； 斯賓諾莎《倫理學》 ； 嫉妒 ； 德勒茲《斯賓諾莎與表現的問題》 ； 被動情感 ； Proust ； Spinoza's ＂Ethics＂ ； jealousy ； Deleuze's ＂Expressionism in Philosophy＂ ； passive affections

中外文學

39卷4期（2010 / 12 / 01）

171 - 197

繁體中文

普魯斯特（Marcel Proust）的巨著《追憶似水年華》（＂A larecherche du temps perdu＂）並非一部往事再現之作，而是以「馬歇爾成為作家」這個主題，不斷衍生發展的一段經歷與過程。在這個過程中，令他受挫最深的大概莫過於他與阿爾貝蒂娜（Albertine）之間糾葛的愛戀。這段戀情從第二卷馬歇爾的少年時代開始，一直持續到第六卷〈女逃亡者〉阿爾貝蒂娜意外死亡作結，我們有充分理由推斷，阿爾貝蒂娜與馬歇爾彼此的相互關係在馬歇爾認識自我的路徑上有絕對不容忽視的重要性。本文意圖由斯賓諾莎（Spinoza）的《倫理學》以及德勒茲的《斯賓諾莎與表現的問題》（＂Spinoza et le problème de l'expression＂）兩書中關於被動情感（passive affections）以及愉悅的被動情感（joyful passive affections）的說法，來理解馬歇爾與阿爾貝蒂娜的愛戀中的關鍵情感：「嫉妒」，並指出嫉妒雖然是被動情感，卻可能蘊含某個程度的主動性。馬歇爾的嫉妒之情由阿爾貝蒂娜的臉所引發，阿爾貝蒂娜的臉「表現」，這個表現引發了更多的「問題」，並且讓受牽連的人事物都「動」了起來。嫉妒內蘊著詮釋的渴望，它與解釋行動一同發生。馬歇爾的行動表現在他熱切地試圖去解釋，又正在他不間斷的解釋行動中，他愈得以認識自我。因此，本文主張馬歇爾的創造活動並非是一個由無到有的突現狀態，而是以馬歇爾的感受力（capacity of being affected）為動力，不斷開展的生成活動。

Marcel Proust's ＂A la recherche du temps perdu＂ is not meant to recollect what has been lost in time, but to narrate a long apprenticeship of Marcel's becoming a writer. Nothing frustrates Marcel more than his smothering love journey with Albertine in the apprenticeship. Beginning from Marcels' teenage years and ending in Albertine's sudden death, their love, fairly speaking, bears indispensable significance in Marcel's apprenticeship of becoming a writer and himself. This paper attempts to understand the recurring ＂jealousy＂ in Marcel's love for Albertine in terms of passive affections and joyful passive affections in Spinoza's ＂Ethics＂ and Deleuze's ＂Expressionism in Philosophy＂, respectively. This paper argues that even in jealousy, as a passive affection, the power of action comes into play. Marcel's jealousy is provoked by Albertine's face; her face ＂expresses.＂ That is to say, this expression causes ＂problems＂ and drives everything/everyone involved to ＂act.＂ Jealousy is intrinsically involved with explication; in other words, its happening coincides with the acts of explication. Marcel's power of action is laid bare in his desperate attempt at explication, and it is exactly in his explicating act that he becomes himself. This paper maintains that Marcel's act of creating is by no means an emergent state ＂ex nihilo＂, but rather, it is a ceaseless process of becoming developed and driven by Marcel's capacity of being affected.

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