從小說地景重讀吳濁流之《亞細亞的孤兒》

Abstract

中文摘要 本研究旨在以空間地景之概念，研究吳濁流之《亞細亞的孤兒》，藉由文本中空間地景所形成的二元對照關係，將之類比於《紅樓夢》中府第與園林之哲學意涵，以襯托胡太明（也就是吳濁流）之性格。這種性格把臺灣的歷史悲劇歸咎於西方現代國家理性和逢迎政權的臺灣人。 日本殖民政權是胡太明所比較的體制之一，這也是令他陷於畏懼、憤怒與瘋狂的恐怖力量。本論文透過小說地景之分析，說明胡太明如何從民間保存的儒家禮儀、佛道宇宙觀、素樸的人際關係、老農的田野經驗、傳統文人的風骨，屢次尋回健全的生活基調。 論文章節之呈現是，第一章先就問題意識、研究方法及章節安排進行說明，其次，將於第二章討論《亞細亞的孤兒》的文學空間系譜，主要論點乃依據關華山在《《紅樓夢》中的建築與園林》專書及「石頭索記夢紅樓」的演講中所提出的紅樓夢文學空間系譜，羅列出《亞細亞的孤兒》中的空間分類，計有神話世界、府第（儀典空間）和大觀園（適性空間）。接著以第三章將胡太明比喻為臺灣的賈寶玉，從《亞細亞的孤兒》小說文本找出胡太明的賈寶玉特徵：將以空間的角度論述胡太明之性別經驗，其代表著吳濁流認同現代中國之幻滅。 第四章歸納得出一個結論：從小說地景重讀吳濁流之《亞細亞的孤兒》，經過本文分析，筆者發現即使小說結尾多半被解讀為精神崩潰的發瘋狀態，象徵臺灣人的「孤兒」意識，它其實可以是一種自由解脫的含意，如同賈寶玉最後出家，充滿生機湧現的暗示。

ABSTRACT

The thesis studies Wu Zhuoliu’s The Orphan of Asia with the concept of landscape with an attempt to argue that the protagonist of the novel Hu Taiming (often read as the writer himself) can be associated with Jia Baoyu, protagonist of The Dream of Red Chamber. This reading features the character of Hu/Wu that attributes the tragedy of Taiwan as a Japanese colony to the modern concept from the West, i.e., the reason of state, and to the Taiwanese traitors who flatter the colonizers. The Japanese colonial system is the source of fear, anger and madness for Hu Taiming, and hence is the object of comparison with the traditional governing system Hu is familiar with since his childhood. The traditional system, from the framework of landscape arrangement, includes Confucian ceremonies, Buddhist and Daoist view of the universe, simple and honest human relations, and the ethos of traditional literati, all of which represent the basis of healthy life. The process of my argument goes with the presentation of the problematic in Chapter One, followed by the genealogical study of literary landscape in The Dream of the Red Chamber and its comparison with The Orphan of Asia in Chapter Two. The focus of discussion is based on the spatial classification, which includes the mythical world, the house as the ceremonial space, and the garden as the space of individual freedom. In Chapter Three, Hu Taiming is compared as Ja Baoyu, as their gender and sexual experiences, led by their spatial consciousness, cause the disillusion of their world view. In the final chapter I suggest that the usual interpretation of the end of the novel—Hu’s madness—be understood as the connotation of liberation, just like Jia Baoyu, with an implication of surviving in the state of commotion.