一種新平衡：阿奎達斯小說《深河》（Los ríos profundos）中之「陀螺」

A New Balance: “Zumbayllu” in José María Arguedas’ Los Ríos Profundos

本論文提出祕魯作家阿奎達斯（José María Arguedas 1911-1969）在他的小說《深河> （Los ríos profundos 1958）中呈現出一種結合了殖民文化與蓋丘文化之新平衡的理想主義。筆者將利用後殖民符號學，來詮釋作品中最主要的符號具「陀螺」的象徵意義。小說中阿奎達斯將「陀螺」與印第安宇宙觀：象徵性及互補性二元論做聯繫，並提出一種新平衡；一種非以歐洲為基礎的平衡，而是安地斯山的平衡理想，而此理想也納入了歐洲人。主角艾爾涅斯多 （Ernesto） 是位青少年，在作品中漸漸成長，阿奎達斯透過小男孩的眼睛以神奇寫實的手法，描繪「陀螺」如何以不同的方式，首先對艾爾涅斯多及歐洲人產生作用，以及後來對艾爾涅斯多和印第安人發揮意義。小說結尾中殖民地奴僕的歌聲，象徵性地超越了不平衡。筆者試圖闡明阿奎達斯不只是呈現一種暴動，暴動是必然的，而最主要的是訴求一種宇宙的秩序。雖然「陀螺」一詞是西班牙文化與蓋丘文化的結合，它仍然是源自印第安的元素，阿奎達斯很清楚它的意義，因此用它來表達抗暴。然而最重要的還是作者將它提昇至平衡的層次，而提出一種新平衡，一種以古印第安宇宙觀為基礎的平衡。

This paper suggests that José María Arguedas (1911-1969) in his novel Los Ríos Profundos (1958) offered an ideal of balance that united the Colonial and the Quechua. In this paper I use the postcolonial semiotic to interpret the signification of the “zumbayllu”, the principal signifier of the novel. Arguedas in this novel related it to the Andean cosmology with its dualism and complementary symbolism. At the same time he created a new balance; not a European balance, but an Andean one, in which the Europeans were included. Through the teenager Ernesto’s eyes, Arguedas described with marvelous realism how the “zumbayllu” worked in different ways, first with Ernesto and Hispanics and later with Ernesto and the Indians. Symbolically at the end of the novel the colonos’ songs triumphed over the imbalance. I try to show that Arguedas not only presented subversion--this always exists--, but, most importantly, the author reclaimed a cosmological order. Although the word “zumbayllu” is a combination of the Hispanic and Quechua, basically it is Indian. Arguedas knew well the meaning, and he used “zumbayllu” as a subversive signifier; however, through the relationships of the characters in this novel, he transcended this meaning, using “zumbayllu” to create a new balance based on the ancestral Andean cosmology.