論柏拉圖《斐德羅篇》中的修辭：從蘇格拉底的戰車寓言到修辭的空間形構

Rhetoric in Plato's Phaedrus: From Socrates' Chariot Allegory to the Spatial Configuration of Rhetoric

10.6637/CWLQ.201912_48(4).0006

蔡仁傑(Jen-chieh Tsai)

《斐德羅篇》 ； 戰車寓言 ； 修辭 ； 哲學 ； 空間 ； Phaedrus ； chariot allegory ； rhetoric ； philosophy ； space

中外文學

48卷4期（2019 / 12 / 31）

159 - 178

繁體中文

論者對於柏拉圖《斐德羅篇》及《高爾吉亞篇》中的修辭，大致上是從知識論、形上學、倫理學等方面進行理解。然而，這些視角卻忽略了《斐德羅篇》是柏拉圖唯一一次讓蘇格拉底身處在雅典城外實際進行哲學討論的對話錄：於該空間，他未如在《高爾吉亞篇》中極力否定修辭，反而認可植基於知識的修辭實踐。於此，本研究認為，此空間面向可用來探討蘇格拉底於《斐德羅篇》中對於修辭的再概念化，且具體而微地隱含在該對話中提出的靈魂為馭手、駿馬、戰車三者一體的比喻中。該比喻透過其移動、行旅、升騰、迴轉、沉淪等意象，串連、支配了對話中各種可能的空間形式：除了蘇格拉底修辭之旅帶出的城裡城外的分別，尚有對談的優美勝地（梧桐樹場景）、形上形下空間的二分、哲學疆域的開放與鞏固，以及修辭在地視角與全知空間的對比。因此，本研究認為有必要就空間此範疇思索《斐德羅篇》中修辭於對話中的空間定位及移動，並進一步配合戰車寓言，爬梳修辭的本質及特徵，而指出，《斐德羅篇》其實重述了《高爾吉亞篇》中棄卻修辭的基調。

Scholars have generally tried to explore rhetoric in Plato's Phaedrus and Gorgias from the perspectives of epistemology, metaphysics, and ethics. Such attempts have paid little attention to the fact that the Phaedrus is the one and only dialogue by Plato in which Socrates ratiocinates about matters outside Athens-where he might feel less obligated to challenge rhetoric than in the Gorgias and rather endorses rhetorical practice based on knowledge. Accordingly, this paper proposes that the notion of ＂space＂ should be used to explore Socrates' reconceptualization of rhetoric in the said dialogue. It turns out that the space in the Phaedrus is largely informed and dominated by the chariot allegory proposed by the philosopher through images of movement, journey, rising, revolving, and falling. Specifically, the spatial forms in the Phaedrus include the contrast between the inside and the outside of Athens, the locus amoenus (the plane tree scene), the antithesis between metaphysical and physical space, the de/reterritorialization of philosophy, and the localization of rhetoric vis-à-vis the holism of knowledge. Hence, this paper argues that, considering such forms and the chariot allegory in approaching rhetoric, Socrates reterritorializes philosophy by rejecting rhetoric once more just as in the Gorgias.

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