Confessional Literature and Wordsworth’s Poetry

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告白文學與渥滋華斯詩作之探究 Confessional Literature and Wordsworth’s Poetry 吳玲慧 Pauline Ling-Hui Wu 新生醫專應英科助理教授 摘要 本論文目的在於研究並主張浪漫主義詩人渥滋華斯之詩作為告白文學。研究之方法既以麥可‧巴特丁「存在即對話」理論分析之。根據亞伯拉罕<回顧童年,隠喩永恆>含有新柏拉圖主義的概念:即指主體本有一道靈光,但因降為人世,而漸消盡。若要拾回此道光,必須藉由主體在人生之中不斷回想而得。依我見,渥滋華斯延用新柏拉圖前存在的抽象觀點,即是「模仿」概念(VII.7) 。眾所周知,此大師的許多詩作都是談到詩心成長的主題:詩心是自動的。此類詩,以對話風格所寫的作品為最。這些詩呈現出模仿概念的痕跡,但皆屬於不同層次的模仿。那麼何謂渥滋華斯悠關自動之心的模仿概念?此模仿觀只符合傳統模仿之定義;文學模仿就是再現人生?或是超乎於此?而自動之詩心是從一開始創作,就全然自動?或是因他者而有多變的轉換,是有層級性的?端詳下,模仿又有何指涉?為何只能透過模仿,主體才能重回天堂?那麼,何謂模仿?實際上,我發覺,渥滋華斯的模仿基模,是一種特殊建構自我意義之告白政策。但告白詩類,超乎於此。在形式上,告白文學是一種「感情轉移」1;必引涉一位告白者,假設在某一特殊時刻,對著一位特殊的聽者對話。然而,實際的媒介體是心地。心地透過不同境界的「告白模仿」形式,而能激發心智的潛在能力,以達到無限的靈魂本質。但此悠關心地之永恆主題,不可能獨立地,不須藉由“他者”而自由心正地操控。因而,在此研究計畫,我將以麥可巴特丁「存在即是對話」的向度,以探究渥滋華斯罕人所批評的一首詩,稱之「當面對世界之誘惑」。並分析此詩與相關詩之間,互為文本之特性,以證實告白主體是如何透過幾個心靈境界,而能成為天人合一的預言詩人。 中文關鍵詞: 告白,模仿,對話錄 Abstract From the perspective of M. H. Abrams, William Wordsworth’s “Ode: Intimations of Immortality from Recollections of Early Childhood” represents the neoplatonic view that the primitive gleam of the soul, gradually quenched by its descent into the earth, must be “gradually recollected” by the subject in one’s life course (Abrams, et al., 1986, p.208). I assume that Wordsworth’s concept of preexistence is that of “mimesis” (VII.7). As far as we understand, lots of Wordsworth’s poems are concerned with the elevation of the poetic mind, an automatic one --- especially those written in an address-style. They show some trace of mimesis related to consciousness, but belong to its different levels, even though the twentieth-century theorists, like post-structurists, have denied the Romantic claim for the primacy of cogito. Then, why is Wordsworth’s mimesis relevant to

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