那若隱若現的撒旦之母?!：《蒼蠅王》中的幻思想像

The Satanic (In)Visible Mother?!:Phantasy in Lord of the Flies

每逢論及《蒼蠅王》（Lord of the Flies）一書主旨，諸多學者如吉丁（James Gindin）必將「蒼蠅王」一詞與有｢邪惡王子｣之稱的撒旦(又稱Beelzebub)連上等號（15）。然而，儘管全文盡是青少年，看似無女性角色，事實上小說中的豬頭（即撒旦象徵）卻來自深具母性光恩的母豬（Golding 104），此外小說一開始，全島瀰漫女巫哭喊（3），加上除為海水包圍，島內也多處有水池或相關地景，如此氛圍令人思及克莉絲提娃（Julia Kristeva）所謂的陰性空間（chora），也進而足證小說中的陰性存在不容忽視。
本論文因此將從女性心理學者，克萊恩（Melanie Klein）的客體關係論出發，重讀《蒼蠅王》中的幻思（phantasy）體現。我們認為透過看似陰性角色的缺席，反而導引出客體關係論中對於餵養母親之存在與否所產生的恐慌，此一恐慌激發潛意識之幻思（phantasy），由於對生存之恐懼與受挫，透過投射（projection）與內射（introjection）等作用，形成激烈行動，導致悲劇之產生。因此，小說中對於不知名野獸的恐慌，實則來自對於不幸流放外島後，生存基本需求不穩甚至匱乏而產生的幻思。如克萊恩所言，客體關係狀態實成長必經過程，此種對於母親餵養的不安，其實亦是小說中的青少年終須面對的｢童稚喪失｣之必然現實（Golding 225）。

When speaking of Lord of the Flies, scholars, such as James Gindin, associate it with “the Prince of the Devils” (Gindin 15) or Beelzebub; masculinity is therefore imbued. In Lord of the Flies, however, the pig head equally connoted as “Lord of the Flies” is actually a mother sow bearing “deep maternal bliss” (Golding 147). Despite the seeming lack of female roles in Lord of the Flies, the sow and the initial “witch-like cry” (3) foretell the unknown island as chora—a female space coined by Julia Kristeva. An ignorance of these feminine elements might offer an unfair reading of this novel, for the hidden maternal influence is not considered.
This paper intends to re-read Lord of the Flies with a focus upon the maternal power by means of Melanie Klein’s phantasy, an unconscious representation, to claim that the seeming absence but actual existence of the feminine aura (chora) constructs a unique setting that brings about two contrastingly-rendered characterizations manifested by Jack and his followers and by Jack’s counterpart, Ralph. Also, their phantasy is incited, urging to defend their fear and anxiety, yet mostly to no avail. All in all, the phantastic visibility and invisibility of a mother—mainly represented by the pig head, a Satanic role—pose a serious impact to these juveniles and throw them into a chain of events in which these boys witness “the end of innocence” and cruel reality that await them “in the distance” (Golding 225).