臺灣博碩士論文加值系統

《亞格曼儂》為希臘三大悲劇家之一愛斯奇勒斯的作品，是目前世上僅存的三聯劇《奧瑞斯提亞》的首部曲。故事內容集合了荷馬史詩與當時流傳的希臘神話，是一部能觸動人內心深處的偉大悲劇。
愛斯奇勒斯的三部曲，最主要彰顯的是「正義」，內容雖然是亞格曼儂家族的故事，但愛斯奇勒斯卻賦予了它社會及歷史的意義。故事保存了希臘文明進展的一段重要軌跡，也代表一個新時代的開始。
《亞格曼儂》故事內容，描述亞格曼儂弟弟米耐勞斯的妻子海倫，因受到特洛伊王子帕里斯的誘惑，與帕里斯偷偷回到特洛伊。亞格曼儂為了弟弟，率領希臘大軍遠征特洛伊十年，當勝利返國之際，卻被妻子偕同情夫殺害。在那遠古的時代，一位功業彪炳的大將軍，未死於戰場，卻猝死於親愛家人之手，著實令人震驚。亞格曼儂被殺的原因，經過探討，乃肇因於家族間的亂倫與權力鬥爭，以及祖先對神明不敬所造成的結果，由於這些因素的糾葛，使得亞格曼儂的死因格外引人注目。
本文主要以亞格曼儂的妻子與堂弟，聯手策劃謀殺亞格曼儂的一系列戲劇動作為主，藉由史詩與神話，整合兩人謀殺亞格曼儂的理由，將隱藏在背後的動機，一一顯露，可清楚的交代亞格曼儂的死因。也期望從探就上古希臘的悲劇中，使現代觀眾對古希臘戲劇有更深一層的認識；同時也驗證了古希臘悲劇，符合亞里斯多德的戲劇理論，「悲劇可以引起哀憐與恐懼的情緒，同時也能達到淨化人心的效果」。

Agamemnon is one of the Greek trilogies of Aeschylus and it is the episode of
three remains which unites Oresteia of drama in the world at present. The story contained the setting of Homer’s epic and Greek mythology that spread at that time, and this great tragedy can touch people to the hearts.
The main idea of Aeschylus is the “justice”, though the content is the stories about the family of Agamemnon, but Aeschylus had given to its society and history meanings. The stories have been kept a section of important orbits of Greek civilization progress and have been represented the beginning of one new era, too.
The story of Agamemnon describes Helen, who was the wife of Agamemnon’s younger brother, was lured by Troy prince Paris, and she got back to Troy with Paris stealthily. Agamemnon led the Greek army and went on an expedition for ten years in
Troy for his younger brother. The victory after, Agamemnon returned to the country, but he was murdered by his wife and her lover. In ancient days a great general who got distinguished achievements didn’t die in battle, but died suddenly by his own dear family’s hands. That event really came as a shock. The reason of the death of Agamemnon was caused by the incest among the family members’ struggle for power and the ancestors’ disrespect for gods. The entanglement of these factors make the death of Agamemnon extremely noticeable.
The main point of this article is planned by Agamemnon’s wife and cousin to murder Agamemnon and that murder case causes a series of dramatic action with the epic and mythology, combining the reasons of two murderers exposed clearly the motive behind the back. It also can explain the death of Agamemnon very well. We expect to understand the Greek tragedies by researching it make the modern audiences understand the ancient Greek dramas deeply, verify the ancient Greek tragedy at the same time. All these ides accord with Aristotle’s dramatic theory, “the tragedy can be caused and pitied with frightened mood, can get the result of purifying the heart too at the same time.”

中文摘要……………………………………………………………………….І
英文摘要……………………………………………………………………….П
誌謝…………………………………………………………………………….Ш
目錄…………………………………………………………………………….IV
表目錄………………………………………………………………………….VI
圖目錄………………………………………………………………………….VII
前 言…………………………………………………………………………1
一、希臘戲劇的發展……………………………………………………………5
二、愛斯奇勒斯的戲劇貢獻……………………………………………………7
三、《亞格曼儂》創作背景及其結構…………………………………………10
（一）《亞格曼儂》的創作源頭…………………………………………11
（二）特殊的創作形式……………………………………………………13
四、《亞格曼儂》故事與死因之歸納…………………………………………16
（一）故事大綱及譯本選擇………………………………………………16
（二）亞格曼儂死因線索…………………………………………………16
1.得罪神明….………………………………………………………17
2.家族恩怨….………………………………………………………17
3.琴瑟失和….………………………………………………………18
4.性格缺陷…….……………………………………………………18
五、亞格曼儂四大死因分析……………………………………………………20
（一）家族與神明之間的關係以及家族詛咒的來源……………………20
1.亞格曼儂家族………………….…………………………………21
2.家族成員與神明之間的關係….…………………………………22
3.家族詛咒的由來….………………………………………………30
（二）家族間的仇恨與鬥爭 ….………………………………………….32
1.壎箎相和 .……………………….……………………………...34
2.兄弟鬩牆….…………………….………………………………...35
3.耶楚斯的血腥手段….……………………………………………36
4.塞也斯的反撲….…………………………………………………37
5.亞格曼儂奪回邁錫尼（或阿果斯）…………………………….38
6.亞格曼儂為家族所做的犧牲….…………………………………39
（三）亞格曼儂夫妻間的愛恨情仇 ….………………………………...41
1.克麗婷妮特拉前夫與兒子被殺的血債 ……..………………… 42
2.女兒伊裴貞被獻祭的仇恨 ..………….…………………………44
3.被丈夫欺騙的痛心與難過....….…………………………………46
4.對丈夫攜妾歸國的憤怒 ….……………………….…………… 46
5.情慾與權力的慾望 ..………………………………….…………48
（四）亞格曼儂的性格缺陷 ..……………………………………………50
1.性好漁色 ..……………………………………………….………51
2.與阿基琉斯的衝突 ..…………………….………………………53
3.矛盾的性格特質 ..………………………………………….……55
六、完美的暗殺行動….………………………………………………..……….57
（一）克麗婷妮特拉與伊吉瑟斯的結盟關係….…………………..…….57
（二）精心佈置的暗殺陷阱….…………………………………..……….59
1.掌握先機….……………………………………………...……….60
2.「紅色」地毯象徵著死亡….………………………...………….60
3.奪命長袍的天羅地網….……………………………………...….60
4.可憐英雄淚….……………………………………………...…….61
（三）暗殺行動….…………………………………………………..…….61
（四）亞格曼儂死亡….………………………………..………………….64
（五）悲劇英雄的死亡震撼….………………………..………………….65
七、《亞格曼儂》的幾個特質………………………………………..………..67
（一）《亞格曼儂》的創作法則……...………………………………….67
1.情節編寫………………………………………………………….67
2.思想內涵………………………………………………………….67
3.性格刻劃………………………………………………………….68
（二）《亞格曼儂》的情節發展……………..…………………………..69
1.必然性與蓋然性………………………………………………….69
2.急轉……………………………………………………………….70
3.發現……………………………………………………………….70
4.受難……………………………………………………………….70
5.糾葛與解決……………………………………………………….70
（三）《亞格曼儂》的戲劇動作………………...……………………….71
（四）《亞格曼儂》的戲劇本質….……………………..……………….72
1.普遍性….……………………………………………….………...72
2.真實性….………………………………………….……………...73
3.哀憐與恐懼….……………………………….…………………...73
（五）發散與轉化….……………………………...…….………………...74
結 論………………………………………………………………………………………….78

一、中文部份

王煥生 譯 （2000）。《奧德賽》。台北：貓頭鷹。Homer, Odyssey.
幼獅翻譯中心 譯（1973）。《世界文明史─希臘的黃金時期》。再版。台北：幼獅。Durant, W.（1939）. The Story of Civilization-The Life of Greece: The Golden Age.
幼獅翻譯中心 譯（1985）。《世界文明史─希臘的興起》。四版。台北：幼獅。Will Durant（1939）. The Story of Civilization-The Life of Greece: The Golden Age.
呂健忠 譯（1997）。《亞格曼儂》。台北：書林。Aeschylus. Agamemnon.
杜定宇 編（1994）。《英漢戲劇辭典》。台北：建宏。
宋碧雲 譯（2006）。《希臘羅馬神話故事》。8版。台北：志文。Edith Hamilton. Mythikigy.
李松林 譯（1986）。《簡明世界戲劇史》。北京：中國戲劇出版社。Phyllis Hartnoll Aconcis History of the Theatre.
林國源（2000）。《古希臘劇場美學》。台北：書林。
林國源 譯（1997）。《戲劇的分析》。台北：書林。Reaske, C. R. How to Analize Drama.
孫惠柱（1999）。《戲劇的結構》。3刷。台北：書林。
姚一葦（1992）。《戲劇原理》。台北：書林。
姚一葦（1969）。《戲劇論集》。台北：台灣開明書局。
姚一葦 譯（1966）。《詩學箋註》。台北：中華書局。
胡耀恆（1997）。《千古不朽的悲劇：《伊底帕斯王》》。http://www-ms.cc.ntu.edu.tw/~theatre/john/oedipus.htm。(2003/12/10 瀏覽)。
胡耀恆 譯（1997）。《世界戲劇藝術欣賞》。再版。台北：志文。Oscar G. Brockett. History of the Theatre.
張心龍（2000）。《神話‧繪畫》。台北：雄獅。
楊憲益〈荷馬和荷馬史詩〉。理想藏書。http://lxbook.myrice.com/zjzp/other_europe/hema_hemashihshi.htm。(2003/12/7 瀏覽)。
趙震 譯（1992） 。《希臘神話》。再版。台北：志文。Emile Genest. Contes et Legendes.
趙如琳 譯著（1994）。《戲劇藝術之發展及其原理》。五版。台北：三民。
劉毓秀 曾珍珍 合譯（2003）。《希臘悲劇》。14刷。台北：書林。Aeschylus Sophocles Euripides Agamemnon Oedipus the King Medea.
劉崎 譯（2005）。《悲劇的誕生》。台北：志文。Friedrich Nietzsche. Die Geburt der Tragodie.
顏元叔 譯（1972）。《西洋文學批評史》。台北：志文。Wimsatt Jr., W. K. and Brooks, C. (1957). Literary Criticism: A Short History.
羅念生 譯（2001）。《古希臘戲劇選》。台北：木馬文化。
羅念生和王煥生 譯（2000）。《伊利亞特》。台北：貓頭鷹。Homer, Iliad.
（翁嘉聲）〈英雄之名存於史詩之中-荷馬之《伊利亞特》〉。羅念生和王煥生 譯《伊利亞特》（頁15-43）。台北：貓頭鷹。Homer, Iliad.
羅念生 譯（1999）。〈阿伽門農〉。《世界經典戲劇全集》。浙江：浙江文藝。


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Stanton, S. & Banham, M. Eds. (1996). Cambridge Paperback Guide to Theatre. New York: Cambridge University.
Wesleyan University (2003). Electra Image Resources. http://mkatz.web.wesleyan.edu/public_html/wescourses/2001f/cciv210/01/electra_images/pages/22.274.1.Death%20of%20Agamemnon.htm. (2004/1/10).
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