走出個人的真空——易卜生的反諷與《人民公敵》

Departure from the Emptiness of Individuals – Ibsen’s Irony and An Enemy of the People

本文意在論證，易卜生在《人民公敵》一劇中，發展出一種反諷的戲劇構成法（dramaturgy of irony），藉此讓戲劇走出以「個人」為基礎所發展的戲劇模式。這種以理性的「個人」為基礎的戲劇，是理性意識型態從文藝復興逐漸興起後的產物。然而，當進一步檢視理性的意識型態，特別是笛卡耳對「我思」（cogito）的看法，則會發現這個意識型態所塑造的「個人」，存在上其實處於的真空。這個對理性化時代個人處境的反省，在十八世紀末時，即在早期德國浪漫主義者中如施烈格（F. Schlegel）的理論中出現，並發展出一種「整體論」（holism）取向的反諷，以消除笛卡耳理性中主、客體對立的模式。而桑第（P. Szondi）根據他對浪漫主義文學理論的回顧，發展出討論現代戲劇的架構，認為現代戲劇是從理性主體為基礎的戲劇模式（他稱為「戲劇」“the Drama”）的出走。然而，由於未深入理解「反諷」與「整體論」的意涵，他對易卜生的解讀並不適當。本文將立足於對他的架構有所修正的基礎上，進一步以《人民公敵》為例，說明易卜生將「反諷」運用在戲劇中，使觀眾從「個人」的幻覺性中出走，並對整體的存在有所警敏。

People (1882) by which drama deviates from the individual-based model – a product of rational ideology arising from Renaissance. However, further examining this rational ideology, Descartes’s idea of cogito in particular, the existence of this individual shaped by rational ideology consists in the emptiness of being. In the late eighteenth century, this critical examination already appeared in the ideas of Friedrich Schlegel, a significant figure of the Early German Romanticism. He proposed a holistic conception of irony, which aims to substitute for the inherent opposition of Cartesian rationality between the subject and the object. On the other hand, based on his review of Romantic literature theory and Schlegel’s ideas, Peter Szondi develops his framework in which modern drama is regarded as the departure from the rational, individual-based dramatic model, which he calls the Drama. However, due to his insufficient understanding of holism in relation to irony, his analysis of Ibsen’s innovation in dramaturgy is inappropriate. I will modify Szondi’s framework and illustrate through my analysis of An Enemy of People that irony is employed by Ibsen in this play, invalidating the assumption of the rational individual as the basis of drama, and making it possible that the audience can restore their agile consciousness of their being in the world as a whole.