臺灣博碩士論文加值系統

中文摘要

本篇論文主要討論托爾金的神話創作與基督教和北歐神話之間的互文性。托爾金在當代幻奇文學創作裡以獨特的「第二世界次創造」特色寫作聞名，他完備地描繪了裡頭的異時空構成。同時身為一位語言學家，托爾金獨創了他的神話時空及其專屬的語言系統。他的創作深受天主教信仰的影響，如《精靈寶鑽》和《魔戒》，從中我們可以讀出他的宗教熱情以及文學創意，此外，就如同劇作家華格納大量地汲取北歐神話元素並寫出代表作一樣，托爾金也從北歐神話裡獲益良多。托爾金的神話時空論述並非以當代英語重述舊有神話傳說，而是想藉著建構英國神話來重建英國史詩傳統，在文學原創性上，他和Owen Barfield都贊同「語意合一性(semantic unity)」的概念，透過托爾金的神話創作，在閱讀的同時可以獲得類似宗教的救贖情懷，因為語言意指和意符的連結透過語言的藝術得以重建，且復原了。
本篇論文分成四個章節，第一章採Richard L. Purtill 的神話分類法試圖定位托爾金的神話創作，第二、三章探討托爾金神話和基督教及北歐神話的互文性，特別是以《精靈寶鑽》為主，異教徒精神上的勇敢與基督節制的道德規範似乎相抵觸，但故事張力就此延宕展開。最後一章探索托爾金文學上的原創性及其歷史定位，從他的歷史背景和神話創造藝術性來審視其文學價值。

Abstract
The thesis examines Tolkien’s mythic creation and its intertextuality with Christian elements and Norse mythology. Tolkien is unique among many fantasy writers by his narrative artistry that fully develops the dimensions of mythic time and space, known as the Secondary World. Being a philologist, he creates his legendarium with invented languages. His Catholic background infuses religious spirit into his creation. For example, his major works, Silmarillion and The Lord of the Rings, reveal his religious passion and literary innovation. Besides these religious elements, the Norse mythology is a major source for the mythmaker. Like Wagner, the fascination with and immersion in the Norse myths and legends also enrich Tolkien’s magnum opus. Instead of retelling ancient stories in modern language, Tolkien’s legendarium restores to the English the epic tradition with their own mythology. His originality manifests the semantic unity, the essence of poetic diction according to Owen Barfield,. Tolkien’s mythic creation lets readers experience the “eucatastrophe” so as to gain reading pleasure. The missing link between language and its primal meanings is restored and revived through his narrative art.
The thesis is divided into four chapters. Chapter one deals with the discussion on the dimensions of myth based on Richard L. Purtill’s categorization. Locating Tolkien’s works within the catalogues help further explore his writings in terms of myth. Chapter two and three tackle the issues of the intertextuality with Christian and Norse mythic elements. Biblical and Norse mythic themes are obvious in Tolkien’s works, especially in The Silmarillion. The resonance of pagan bravery with moderate Christian values seems contradictory, but Tolkien integrates them into a secondary harmony through his original mythopoeia. The last chapter brings to light Tolkien’s literary originality and importance through an investigation of his artistic invention in relation to the historical background.

Table of Contents

Chinese Abstract i
English Abstract ii
Introduction iii
Chapter One: Tolkien and Myth 1
Ⅰ. Diversities of Myth and the Mythic Impulse 1
Ⅱ. Myth, the Beginning of Language 6
Ⅲ. Tolkien as a Mythmaker and His Theory of “Sub-Creation” 10
Chapter Two: Christian Elements in Tolkien’s Works 18
Ⅰ.Christian Genesis and Tolkien’s Myth 18
Ⅱ. Incarnation of Evil 23
A. Evil as Self-Devouring 28
B. Evil Caused by False Visions 29
III. A Complex System of Subordination 30
IV. The Fall—The Great Motif 33
A. Men’s Fall, the Destruction of Numenor, Missing Atlantis 34
B. Apocalypse and Eucatastrophe 36
Chapter Three: The Elements of Norse Mythology in Tolkien’s Works 42
I. Eddas, Norse Myth and Tolkien’s Work 44
II. Völuspá and the Binary Clashing Forces 45
III. Fate and the Endless Battle 48
IV. The Ring as a Symbol and Wagner’s Ring Cycle 50
Chapter Four: The Originality of Tolkien’s Mythic Creation 61
Ⅰ. Poetic Diction 62
Ⅱ. Light and Darkness 66
Ⅲ. The Characterization in Tolkien’s Works 70
Ⅳ. Magic in Tolkien’s Works 77
Ⅴ. Why Tolkien? 80
Conclusion 87
Works Cited 89

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