| 摘要: | 中世紀的基督教社會中，「惡」的觀念深植人心，魔鬼也被視為惡的象徵。魔鬼角色出現在中世紀宗教劇中最初的目的是為了教化人民。然而，魔鬼角色冷酷嚴峻的形象，隨著世俗劇的發展，逐漸融入滑稽有趣的元素。在此轉變之中，魔鬼角色如何被置入宗教劇中卻不失教化之作用，為一值得探討之問題。
本文將以敘事學為分析工具，從克洛德‧布雷蒙(Claude Bremond)所提出的敘事可能模式(les possibles narratifs)來探討法國中世紀戲劇中的魔鬼角色，魔鬼在行動過程當中的選擇以及他和人類之間的密切關係。同時藉由分析魔鬼角色呈現的方式，更深入的剖析法國的中世紀戲劇。
論文首章探討魔鬼為惡之動機。由基督教信仰的觀點出發，並根據敘事可能模式中，施動者(agent)和被動者(patient)敘事角色的轉變，來分析魔鬼為惡的動機，並且探究人類欲望如何在其中扮演一個決定性的助力。第二章分成三部分來剖析魔鬼為惡行動的過程，第一部分研究魔鬼之間的關係，探討地獄王者路西法(Lucifer)和魔鬼們之間的主僕從屬關係。第二部分探索魔鬼在為惡行動中所採取的策略，細分為試探、誘惑及談判斡旋等三項。最後一部分分析其為惡過程中，可能造成行動失敗的挫折者一角。第三章探討魔鬼為惡行動的最後結果。根據敘事可能模式，如果人物選擇付諸行動，則結果可能會成功或是失敗。那麼到底魔鬼是如何誘使人類犯罪而墮落呢?我們將從人類以及魔鬼兩面向來深入了解魔鬼的為惡行動如何獲取暫時的成功，並且在戲劇中達到教化之功用?接著再從上帝旨意此一觀念來剖析魔鬼為惡行動最終失敗的必然性。
本論文從敘事學的角度出發，分析魔鬼角色的呈現如何在中世紀戲劇裡達到教化的目的，並進而了解魔鬼在中世紀基督教社會中所扮演的象徵性角色。
The idea of evil is deeply rooted in the Christian society in medieval Europe and the devil is considered as the symbol of evil. The devil’s first appearance in the medieval religious drama aimed originally to give religious instruction. However, with the development of the secular drama, the cold, grim image of devil's role gradually brought in comic elements. In this transition period, how the role of devil is inserted in the religious drama without losing its social function is a problem worthy of investigation.
This thesis studies the devil’s role in the medieval French religious drama. With the help of The Logic of Narrative Possibilities established by Claude Bremond, we attempt to analyze the devil’s choices and decisions, as well as his close connection with human beings. By analyzing the representation of the devil, we aim to explore in depth his role in the narrative.
In the first chapter, with the analysis of the transformation of roles in the narrative structure (agent and patient), we strive to understand the motivation of the devil and how he makes use of the human desire in his evil acts.
The second chapter, in which the emphasis is put on the process of the devil’s evil acts, is divided into three parts. Firstly, we will discuss the master-servant relationship between Lucifer, the king of hell, and the devils. Secondly, based on the selected plays, we discern three strategies in the devil’s acts: temptation, seduction and negotiation. Finally, we analyze the frustrator, who, in the development of narrative, may cause the failure of the mission of the devil.
In the final chapter, we attempt to explore the ultimate result of the devil’s evil acts. According to The Logic of Narrative Possibilities, if one character decides to take actions, he may succeed or fail in his actions. When the devil successfully lead human beings astray, the temporary success of his action should be attributed to both the wish of the devil himself and the weakness of the human beings. However, owing to the intervention of God’s will, the devil’s failure is always inevitable.
Our study has shown that it is possible to apply the narratology to the analysis of the medieval French religious drama. With the theory of Claude Bremond, we understand more thoroughly the devil’s role in the narrative structure, his functions of instructions and eventually his symbolic role in the medieval Christian society. |
