臺灣博碩士論文加值系統

本論文以心理分析的理論探討浪漫主義的無意識詩學。 對英國浪漫主義者而言，無意識在詩的創作上辦演著極重要的角色。 浪漫主義和心理分析雖然在用語與宗旨上有所不同，但它們都對心靈無理性的一面、夢、和孩童經驗抱持極大的興趣。 佛洛依德與榮格的許多想法或理論都可以在浪漫詩人─諸如布雷克、華滋華斯、柯律芝、雪萊、和濟慈中找到其詩意的呈現。浪漫詩人在其不斷的跨過理性的疆界，一探無意識究竟的嘗試中，預期了心理分析的發展，而心理分析的無意識理論提供了了解浪漫主義詩學的方法。
浪漫主義者認為詩的創作必須是一種自發的、超越理性的直覺性活動，因此詩的創作與無意識有著極大的關係。華滋華斯強調詩必須是情感的自然流露，而柯律芝、雪萊、和濟慈認為想像力的發展就如生物的生長一樣，是自發且無意識的。佛洛依德的自由聯想理論闡明自發性實為下探無意識之舉─為浪漫主義的自發性下了個註腳。榮格的思想較佛洛依德更接近浪漫主義者。他提出詩人在創作時，受到其無意識中的自主情結所操縱。自主情結是一種創作衝動，對詩人來說，也是一種異己的意志。
浪漫主義者對無意識的下探也展現在對夢的興趣上。 他們認為從夢中可得到醒覺時無法獲得的靈感。華滋華斯提出詩源自於一種類似夢的狀態，他稱之為「安靜中的緬想」。其它浪漫主義者更進一步認為夢中含有靈視。柯律芝在其詩〈忽必列汗〉的前敘中，提到此詩的靈感來自於他所作的一個夢。心理分析對夢的研究最力，並對夢對文學創作的幫助抱持肯定的態度。佛洛依德的「自我觀察」非常類似華滋華斯所提的「安靜中的緬想」。而榮格和佛洛姆更跟隨浪漫主義的思想，認為夢具有靈視的能力。
另外，無意識對浪漫主義的想像力理論亦很重要。浪漫主義的想像力把材料盡情打散再重組，其運作方式與佛洛依德在對夢的運作所提的「轉移與凝縮」作用極其類似。而浪漫主義的想像力不區別相反的元素也與無意識的運作方式如出一轍。浪漫主義者喜好遵循無意識的思考模式的想像力造成他們提倡「否定的能力」和對孩童靈視能力的崇拜。
因此，無意識確在浪漫詩學當中有著舉足輕重的地位。浪漫主義者對無意識的探索預視了心理分析的崛起。

This thesis examines the Romantic poetics of the unconscious with psychoanalysis theories. For the English Romantics, the unconscious mind plays a crucial role in poetic creativity. Although Romanticism and psychoanalysis differ in their jargon, purposes and ethics, they both emphasize the irrational side of the mind, dreams, and childhood. Many ideas later theorized by Freud and Jung find their poetic expressions in Blake, Wordsworth, Coleridge, Shelley and Keats. Romantic poets anticipate psychoanalysis in their ceaseless efforts to transcend rational bound and to probe into the unconscious experience such as visions and dreams. And psychoanalytical accounts of the unconscious provide a key to the understanding of Romantic poetics.
The Romantics holds that poetical creating should be spontaneous and intuitive and thus has great to with the unconscious. Wordsworth demands that good poetry is the “spontaneous overflow of powerful feelings.” Coleridge, Shelley and Keats hold that the development of imagination is as unconscious and automatic as organic growth. The idea of spontaneity is more fully formulated by psychoanalysts. Although his concern is therapeutic, Freud’s theory of free association recapitulates Romantic spontaneity. Jung is even more aligned with the Romantics in his account of poetic creation: in composing poetry, a poet is compelled to listen to the dictates of the “autonomous complex” from the unconscious.
Trying to go beyond rational thinking, the Romantics turn to dreams or dreamlike states to seek inspirations unavailable when awake. Wordsworth claims that poetry originates in a “tranquil recollection,” a dreamlike state. Psychoanalysts affirm that dreams help poetical creation. Freud believes that poetical creation involves a process similar to “self-observation”─a state that resembles to Wordsworth’s “tranquil recollection.” Other Romantic poets, especially Coleridge in preface to “Kubla Khan,” affirm dreams’ visionary character. Jung and Fromm follow the Romantic thinking that dreams contain visions and insights. Psychoanalysts throw light on the mental character of the Romantic poets as dreamers, visionaries, and even prophets.
Moreover, the unconscious is also important in the theory of Romantic Imagination. There exists a close parallel between Freud’s unconscious theory and Coleridge’s Secondary Imagination. Secondary Imagination which dissolves, diffuses, dissipates and unifies works in a way similar to Freud’s “displacement and condensation” of the unconscious activities. And its reconciliation of opposites also betrays the thinking trait of the unconscious which does not distinguish between opposite elements and tend to combine them. Such an imaginative theory results in the Romantics’ belief in the “negative faith” and children’s visionary capacity; both reflect the importance of the unconscious in Romantic poetics.
Therefore, the unconscious as defined by psychoanalysts is indeed a subject much explored by Romantic poets whether with or without being so named and psychoanalytic accounts of the unconscious illuminate Romantic poetics.

Abstract. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
Acknowledgements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
Chapter One Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Chapter Two On Spontaneity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
I. The Fountain Image of the Mind. . . . . . . . . . . . . . . . . . . . 13
II. Wordsworth on Spontaneity . . . . . . . . . . . . . . . . . . . . . . . 15
III. Spontaneous Overflow and Freud’s Free Association. . . . 19
IV. Aesthetic Organism: Coleridge, Shelley, and Keats. . . . . 19
V. Romantic Automatism and the Notion of Genius. . . . . . . 21
VI. Jung’s Autonomous Complex and Romantic Automatic Creating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
VII. The Wind Harp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Chapter Three A Passage to Xanadu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
I. Freud and Self-Observation . . . . . . . . . . . . . . . . . . . . . . . 36
II. Images Recollected in Tranquility . . . . . . . . . . . . . . . . . . 38
III. Visionary Experience as Pseudo-Hallucination. . . . . . . . . 42
IV Opium and Coleridge’s Prefactory Note to “Kubla Khan” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
V. The Visionary Capacity of Dreams . . . . . . . . . . . . . . . . . . 49
Chapter Four The Romantic Poetics of the Unconscious . . . . . . . . . . . . . . . . 56
I. The Unconscious Creative Process as in “Kubla Khan”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
II. The Secondary Imagination . . . . . . . . . . . . . . . . . . . . . . . 59
III. The Marriage of Contraries . . . . . . . . . . . . . . . . . . . . . . . 65
IV. Romantic Negative Faith . . . . . . . . . . . . . . . . . . . . . . . . . 68
V. The Childhood Bliss of Vision . . . . . . . . . . . . . . . . . . . . . 70
Chapter Five Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

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