彌爾頓《失樂園》的空間與地方

Space and Place in Paradise Lost

彌爾頓《失樂團》中充滿豐富的空間想像，有悲慘愁困的地獄炎景，茫茫無涯的混沌深淵，亦有綠蔭繁茂的樂園地景及高速的光明夫界。這些豐富的地景描寫與空間建構，引起學者對於宇宙、地景、空間架構極大的興趣。《失樂園》空間研究的晚近論述，多從十七世紀現代科學觀的興起，思考《失樂園》中「空間」（space）與「地方」（place）的運用，認為彌爾頓雖在詩中反映十七世紀「空間」取代「地方」成為思想主流的趨勢，卻仍保存了「地方」的重要性。本丈探討《失樂園》中「空間」與「地方」的構成，認為彌爾頓雖保留多種宇宙觀的可能性，其所塑造的輪廓模糊、無邊無際的「空間」，不能以客觀的物理空間視之， 而需理解為上帝無根存有的表徵。而此「空間」的建構， 乃是建立在與「地方」的相對關係， 透過個體「所在」的片面視角拼湊而成。最後，本文認為《失樂園》敘事中的「地方──空間」不能單純以實體經驗視之，而是一個透過語言媒介而構築的隱喻空間，企圖以語言的具象能力，間接傳達不可見的精神世界，藉此彰顯上帝創造的奧秘。

Milton's cosmography and delineation of space in Paradise Lost have been consistently explored by scholars. Recent studies tend to focus on the demarcation of space and place, arguing that Milton retains place while responding to the rising awareness of space in the 17th- century scientific world. Following this line of thinking, this article analyzes the construction and relation of space and place in Paradise Lost. Rather than seeing Milton's space as the physical space of the universe, it argues that the infinite space Milton constructs should be understood as a spatial manifestation of God's infinity. Yet our understanding of this infinite space is conditioned by place, or by the various perspectives of the emplaced individuals (namely, Satan, Adam, and the angels). Finally, this article maintains that the delineation of space and place presents a metaphorical spatial construct mediated by human language in an attempt to visualize the invisible realm of God through limited linguistic means.