洪醒夫小說中的戲劇模式與象徵子題―一個敘事學的分析

Dramatic Modes and Symbolic Motifs in Hong Xingfu's Short Stories-Towards a Narratological Analysis

謝世宗(Shie Elliott S. T)

洪醒夫 ； 敘事學 ； 戲劇性 ； 懸疑性 ； 劇臺化 ； Hong Xingfu ； narratology ； dramatization ； suspense ； staging

臺灣文學研究集刊

7期（2010 / 02 / 01）

161 - 191

繁體中文

歷來對於洪醒夫小說的討論多環繞著人物、思想與題材，而本文則運用現代敘事學的觀點，來分析其小說中敘事技巧，並區分出四種戲劇性。第一節根據Todorov對小說敘事邏輯的分析，點出洪醒夫對戲劇衝突的強調，以及「平衡　外力介入　衝突　重新平衡」為其故事背後的邏輯結構。本文接著強調洪醒夫慣用倒敘的手法以製造懸疑：故事一開始以第一種懸疑引起讀者好奇「事情如何演變至目前的衝突狀態？」接著回溯前因後果，引導出第二種懸疑亦即「接下來會發生什麼事？」基於以上的手法，作者在〈散戲〉中加入了一場歌仔戲的演出，使敘事結構更加複雜，包含主要情節、劇中劇、心理劇三個層次，目的在使「散戲」的主題具有多重的象徵意義。最後本文討論小說空間的「劇臺化」：作者或經由空間的切割，使角色可以任意進場退場，或者經由角色的酩酊大醉，作為一種退場的形式。其目的在於控制舞臺上的演員數量，並決定演員之間是否該有互動，以便使故事有條不紊、乾淨俐落地開展。本文最後強調又本分析對鄉土文學研究的重要性，並認為敘事學正好提供了一套利器。

Scholarship on Hong Xingfu's novel has been revolving around the issues of character, thought, and theme. Based on modern narratology, this paper analyzes the narrative skills and distinguishes four dramatic modes in Hong's novel. The paper first discusses the narrative logic underlying his novel, a story logic that consists in the sequence of equilibrium, disruption, disequilibrium, and the second equilibrium. The second section points out the technique of retrospection in his novel, a technique that creates two kinds of suspense: one leading the reader to wonder what has caused the present state of interest conflict; the other seducing the reader to see what will happen next. Through the narrative logic and techniques discussed above, Hong adds a traditional stage drama into his short story ”Drama Dissembled” multiplying its narrative levels and giving multiple symbolic meanings to its theme. Finally, this paper investigates how fiction space can be turned into a drama stage where characters proceed and recede at the author's will. First, by having several segmented spaces (stages) in the story, Hong enables his characters recede from one stage and then proceed to another. Secondly, by putting a character into the state of intoxication, Hong forces the character to recede on the stage. Either way, Hong controls the number of characters present on the stage and determines whether or not two characters should have interactions. The entire paper has attempted to suggest the significance of close textual analysis of nativist literature, arguing that modern narratology can serve as a useful tool.

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