理查．華格納的《精靈》探討

Research on Richard Wagner’s Die Feen

《伊底帕斯王》開場描繪底比斯城爆發大瘟疫，很容易使人聯想到西元前四三O年的雅典瘟疫。然而，至今仍無法確定《伊底帕斯王》首次登臺時間，也無法完全排除此劇仍有可能在雅典瘟疫爆發前就已上演。本文先整理關於《伊底帕斯王》演出年代、相關論點的假設前提，說明《伊底帕斯王》中的瘟疫場景不一定直接指涉雅典瘟疫。然而索福克里斯的悲劇作品，就像大多數希臘悲劇，經常取材取景於史詩時代，並融合其當代歷史、社會、文化與政治現象；《伊底帕斯王》並非投射特定的事件或人物，而是反映整個西元前五世紀知識與思想承先啟後的蛻變過程。由此觀之，如Knox所言，索福克里斯筆下的瘟疫、疾病與災難等描繪，並非時代錯置（anachronism）的例子。此外，本文將進一步探討anachronism一詞所隱藏之意涵與歷史、疾病等關聯。

This paper focuses on Richard Wagner's first accomplished opera ”Die Feen”. Through the reconstruction of historical background and the analysis of dramatic techniques, the changes and acceptance of Gozzi's original, and the commentaries of other interpretations, it tries to demonstrate that this opera inherited the old tradition from the Romanticism of E. T. A. Hoffmann, yet didn't actually reflect the revolution spirit in 1830's, and so already represented the inception of Wagner's conservative tendency after the 1848/49 Revolution. Some contemporary German scholars attempt to connect ”Die Feen” with transitions of the time, so as to shape Wagner's image into a leftist artist and to diminish his intimacy with Nazi ideology. These efforts are shown to be only contrived transfigurations.