From Recognition to Reconciliation: Cognitive and Textual Spaces in Romeo and Juliet

從認知到認命：《羅密歐與茱麗葉》裡的認知空間與文本空間

10.6420/DHJHS.201107.0091

楊植喬(Chih-Chiao Joseph Yang)

羅密歐與茱麗葉 ； 認知 ； 認命 ； 認知詩學 ； 空間 ； 文本世界 ； 角色 ； Romeo and Juliet ； recognition ； reconciliation ； cognitive poetics ； spaces ； textual world ； character

東華人文學報

19期（2011 / 07 / 01）

91 - 120

英文

《羅密歐與茱麗葉》一齣劇裡包含許多的空間，讀者或觀眾與劇中的角色藉著認知這些空間的過程達到協調認命的結果。本文旨在探討劇中的認知與文本空間是如何被不同的角色創造、調整，這些空間又是如何互相交互作用、彼此衝擊，而最終建構成完整的劇本。分析劇本中不同的空間可以呈現出不同角色所擁有的物質與心理狀況，一旦這些空間關閉了，也就是該角色離開舞台的時候。當劇中的角色輪流告別文本世界時，也就是其認知的程度已達極限之際；而當整齣劇邁入結局，所有的衝突與問題都獲得解決，一方面劇中角色完成演出的任務，一方面讀者或觀眾也因劇本或劇場的空間走過一段心路歷程，對於劇作家所創造的作品有一番體悟。《羅密歐與茱麗葉》一劇的悲劇效果乃借由劇本或劇場的空間傳遞給讀者或觀眾，刺激讀者或觀眾的想像力，使其重新檢視與調整現實生活的空間轉換與認知。

Romeo and Juliet is a text that contains many spaces reconciled by recognition of the characters and the reader or the audience. This paper will investigate how separate spaces are created and negotiated by different characters in Romeo and Juliet, how these spaces interact as well as impact each other, and how they combine into a complete text. The analysis of the play's various spaces shows that different characters own their own physical and mental states, and that the closure of each character's space is his or her departure from the textual world. Each character in turn arrives at the limitation of his or her space or a degree of self-realization before he or she leaves the stage. When the play reaches its ending and all conflicts are resolved, the remaining characters realize their limitations in the textual world, while the reader or the audience will likewise come to recognize the completeness and the limitation of the textual world created by the playwright. The tragic and the theatrical effects of such recognition recast the imagination of the reader or that of the audience and engender a reconstruction of reality at the discourse level.

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