重寫《魯賓遜飄流記》：沃克特《默劇》中的魯賓遜和星期五

Reconfiguring Robinson Crusoe: Crusoe and Friday in Derek Walcott’s Pantomime

本文擬探討沃克特（Derek Walcott）《默劇》（Pantomime, 1978）裡的魯賓遜和星期五如何藉由角色互換，顛覆狄福（Daniel Defoe）《魯賓遜飄流記》（Robinson Crusoe, 1719）中的主僕關係。從剖析這兩個文本間的重塑互文出發，以比較兩文本裡的主僕關係為經絡，一則闡釋《默劇》中的星期五如何藉由彷彿狂歡節（carnival）的「戲中戲」，展露其擬仿力量（mimicry power）而挑戰殖民者的位置，二則置兩個文本於旅行論述中，討論殖民者和被殖民者相互瞭解的可能性，並總結全文指出，默劇對傑克森和哈利而言是一場旅行（travel），在此旅行中，雙方透過身份的轉換，促使越界（crossing boundaries）的可能，因此，此劇透露出沃克特對後殖民的態度並不是採取激烈反撲，而是強調殖民者與被殖民者間相互瞭解與尊重。

This paper examines how Derek Walcott’s Pantomime reconfigures the master-slave relationship in Robinson Crusoe, through the discussion of the literary symbiosis as a starting point to compare and contrast theses two texts, and to elicit other issues. One issue is concerned with Friday’s mimicry power in the carnival-like play-within-the-play which challenges the position of the colonizer. The other issue juxtaposes the two texts within the travel discourse to deal with the possible understanding between the colonizer and the colonized. The pantomime, for Jackson and Harry, is like a travel in which both exchange their roles and trigger the possibility of crossing boundaries. Thus, Pantomime suggests that Walcott emphasizes mutual recognition and respect for both sides, instead of the radical attack of the colonized on the colonizer.