走出個人的真空──易卜生的反諷與《人民公敵》

Departure from the Emptiness of Individuals──Ibsen's Irony and An Enemy of the People

10.6257/2010.5069

何一梵(I-Fan Ho)

反諷 ； 易卜生 ； 施烈格 ； 桑第 ； 人民公敵 ； Irony ； Ibsen ； Schlegel ； Szondi ； An Enemy of the People

戲劇研究

5期（2010 / 01 / 01）

69 - 98

繁體中文

This paper will show that Ibsen develops a dramaturgy of irony in An Enemy of the People (182) by which drama deviates from the individual-based model-a product of rational ideology arising from Renaissance. However, further examining this rational ideology, Descartes's idea of cogito in particular, the existence of this individual shaped by rational ideology consists in the emptiness of being. In the late eighteenth century, this critical examination already appeared in the ideas of Friedrich Schlegel, a significant figure of the Early German Romanticism. He proposed a holistic conception of irony, which aims to substitute for the inherent opposition of Cartesian rationality between the subject and the object. On the other hand, based on his review of Romantic literature theory and Schlegel’s ideas, Peter Szondi develops his framework in which modern drama is regarded as the departure from the rational, individual-based dramatic model, which he calls the Drama. However, due to his insufficient understanding of holism in relation to irony, his analysis of Ibsen's innovation in dramaturgy is inappropriate. I will modify Szondi's framework and illustrate through my analysis of An Enemy of People that irony is employed by Ibsen in this play, invalidating the assumption of the rational individual as the basis of drama, and making it possible that the audience can restore their agile consciousness of their being in the world as a whole.

This paper will show that Ibsen develops a dramaturgy of irony in An Enemy of the People (182) by which drama deviates from the individual-based model-a product of rational ideology arising from Renaissance. However, further examining this rational ideology, Descartes's idea of cogito in particular, the existence of this individual shaped by rational ideology consists in the emptiness of being. In the late eighteenth century, this critical examination already appeared in the ideas of Friedrich Schlegel, a significant figure of the Early German Romanticism. He proposed a holistic conception of irony, which aims to substitute for the inherent opposition of Cartesian rationality between the subject and the object. On the other hand, based on his review of Romantic literature theory and Schlegel’s ideas, Peter Szondi develops his framework in which modern drama is regarded as the departure from the rational, individual-based dramatic model, which he calls the Drama. However, due to his insufficient understanding of holism in relation to irony, his analysis of Ibsen's innovation in dramaturgy is inappropriate. I will modify Szondi's framework and illustrate through my analysis of An Enemy of People that irony is employed by Ibsen in this play, invalidating the assumption of the rational individual as the basis of drama, and making it possible that the audience can restore their agile consciousness of their being in the world as a whole.

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