英雄面具下的陰影──從榮格（Carl Gustav Jung）解讀《水滸傳》武松形象的轉變

The Shadow Beneath the Mask of A Hero:The Flipped Image of Wu Song in Water Margin through Carl Gustav Jung

榮格（Carl Gustav Jung）心理學分析揭櫫，人都有其顯於外的人 格面具和隱於內的陰影。以《水滸傳》武松來說其顯於外的人格面具 形象就是打虎英雄、梁山好漢，但在落草為寇之後轉為不受社會規約 控制的乖張暴戾，其轉變的關鍵，正符合榮格所謂：在個性化過程中， 其正反兩面的心理交互作用。援此對應在武松形象中，各是代表其打 虎英雄正面形象和隱藏在潛意識或無意識中反面的暴力陰影。 榮格的心理分析法能洞悉其打虎英雄到落草為寇的過程，《水滸 傳》作者施耐庵對武松的書寫是從有意識的人格面具—打虎英雄，和 無意識的陰影形象——武行者，這雙軌的脈絡中鋪排，一個人物形象描寫也兼顧心理的個性化過程，這是作者書寫功力的展現，更讓小說人物更加生動具體，故《水滸傳》被列為天下六才子書中唯一的小說代表，當之無愧。

The analytical psychology founded by Carl Gustav Jung reveals that everyone has both the persona played outside and the shadow hidden within. To take Wu Song, one of the main characters in Water Margin, as an example, the persona he wears is both the tiger slayer and one of the righteous bandits in Mount Liangshan; however, when he becomes an outlaw, he turns violent and perverse, opposing to social conventions without control. The key of change in the process of personalization, as Jung indicates, is the outcome of pros and cons psychological interaction. To correspond to Wu Song, his image represents both the positive tiger slayer and the negative violent shadow hidden in his subconsciousness and unconsciousness. Jung's analytical psychology can discern the entire process of Wu Song's change from a tiger slayer to an outlaw. Shi Nai'an, the author of Water Margin, lays out the description of Wu Song in the context of being a conscious persona (the tiger slayer) and an unconscious shadow image (the violent bandit). He takes into account both the description of a character and the psychological personalization. Also, the piece of art work is the demonstration of the author's writing skill; moreover, he makes the characters in his fiction more vivid. Water Margin deserves its name of the only representative of novel among the Six Works of Genius.