狄德侯《修女傳》（序言／附錄）的研究

La Préface-Annexe of Diderot's Novel La Religieuse

一七六○年早春，狄德侯和他的一干文學界朋友矯稱有一位修女自修院逋逃，並以她之名向他們隱居在諾曼地的朋友克瓦瑪禾侯爵去信求援。他們的目的是將侯爵騙到巴黎來。後來全部的信件－－矯名信及上了當的侯爵的回函，加上編者按，發表在《文學通訊》上，公開了他們的惡作劇。狄德侯死後十二年，他的一本小說《修女傳》在巴黎出版，上述帶有編者按語的信件彙編以〈序言／附錄〉為題，附在小說的後面；而這本以某修女〈回憶錄〉面目出現的小說其實只是狄德侯未寄出的偽信之一，經作者擴大發展成一個中篇小說。小說出版後，當時文學批評界猛烈抨擊，認為不應將此批信件彙編放在小說〈回憶錄〉的後面。因為，兩者同時出現在一個文本內破壞了小說所營造的令人心悸的幻象：讀者一旦發現小說只是不正經的惡作劇的副產品便會興味索然了。一九五四年Herbert Dieckmann發表了他對〈序言／附錄〉的研究，扭轉了當年文學批評家的看法，指出狄德侯是有意將小說〈回憶錄〉和〈序言／附錄〉並列於一本著作之內，將兩者視為一個小說內相倚相伏的組成體。Dieckmann和其他後來的學者更進一步認為，狄德侯有意將兩個文本並列，來說明他獨特的小說書寫的觀點，模糊了「虛構」和「非虛構」之問的界限。本論文最後以佛家的「鏡空／鏡實」之說來闡明〈回憶錄〉和（序言／附錄〉並立互映的吊詭，從而說明「對鏡互映」現象在讀者心中所造成的恍惚情境。

During the early spring of 1760, Diderot and his literary clique sent faked letters supposedly from a certain escaped nun to their friend in Normandy, le marquis Croismare. Their aim seemed to lure the marquis to Paris. The entire correspondence, the faked letters and the answers from the credulous marquis, were later published in Correspondance littéraire with the editor's remarks revealing Diderot's plot. The letters and the editor's notes were then inserted under the title of Préjace-Annexe as an adjunct to Diderot's novel, La Religieuse, published 12 years after the death of its author, which was nothing but an extravagant elaboration of one of the forged letters that had never been sent. Critics of literature immediately following the publication of the novel vehemently condemned putting the Preface-Annexe as an adjunct to La Religieuse that was a nun's Mémoires on the grounds that the reader's revelation from the mock correspondence in the Preface-Annexe would spoil the pathetic illusion created by the novel's narration of the nun's Mémoires: how could a reader be touched by a story which was the outcome of a vulgar joke ? In 1954 Herbert Dieckmann published the results of his research into Diderot's Préface-Annexe which overturned earlier critical opinions regarding Diderot's intentions to place the Mémoires and Préface-Annexe side by side and publish it as one novel. Moreover, Dieckmann and subsequent scholars now view this juxtaposition as perhaps Diderot's calculated intention to present to the public his idea concerning the writing of a novel in which the boundaries between fiction and non-fiction can profitably be obscured. In this essay, the ambiguity created by placing the Mémoires and the Préface-Annexe face-to-face is superimposed upon the Buddhist metaphor contained in the emptiness and fullness of a mirror, thus inducing in the reader a vertigo created as he or she views these infinite twin reflections.