芥川龍之介の前期小説の研究 ―芸術の視点から見る―

Abstract

本篇論文以芥川龍之介前期作品為中心，透過芥川龍之介生涯中最重要的視角之一―藝術來分析。眾所周知，芥川死後，世人為他設立的一個鼓勵純文學作品的獎賞―芥川賞，這也不斷的重新解釋芥川在大正時期特別「藝術」的地位。而藝術之於芥川又代表什麼呢，筆者認為，藝術是參透芥川人生的重要關鍵字。在芥川的作品中，他不斷的自己提及「藝術」二字，對於「藝術」，芥川顯然是有意識地提及的，而他是怎麼意識「藝術」之於他的人生的呢？本論文以「羅生門」、「鼻子」、「戲作三昧」、「地獄變」、「奉教人之死」、「南京的基督」，以「藝術」的視角來分析芥川前期的作品，筆者提出「藝術觀之塔」理論，將「羅生門」、「鼻子」分類在最底層，「戲作三昧」、「地獄變」分類在中間層，「奉教人之死」、「南京的基督」分類在最上層。其意義為分類芥川在這幾個作品當中，透露出來他對「藝術」的看法，以及連動他人生觀的層次。「羅生門」及「鼻子」位於最底層，在「あの頃自分の事」裡面，芥川因經歷痛心的分手，第一次體會到自己身為養子的處境―必須妥協於現實。無法談一場自己決定的戀愛，而是須依照他人的意識來決定自己的人生。「羅生門」則是著名的，赤裸地描述現實的作品，在羅生門裡堆滿的是死者的骨骸，那些已死去的，是否代表了芥川某部分的心情呢。在羅生門的世界裡，必須為了活下去而想方設法，下人要去的地方，並不明確。在「鼻」的世界裡，內供禪智的處境是，「理想只能是理想」，這兩邊作品於相近的年代寫成，雖題材不同，卻是在芥川同時經歷分手時而做的作品。也可以說寫作是他試著從現實逃脫的手段，而寫作，作品的完成，就是藝術。而「戲作三昧」跟「地獄變」則是芥川被譽為「藝術至上主義」時期的「藝術家小說」，筆者將他分類在「藝術觀之塔」的中間層。在這兩篇作品中，共通的題材是「藝術家」主角。在這兩個藝術家之中，都可以看得到芥川本人的影子。良秀被稱為芥川理想的藝術家形象，然而筆者認為，馬琴所代表的「溫暖」，而非冷酷的惡魔天才形象，更能代表芥川的藝術觀。因此第四章裡，我將「奉教人之死」、「南京的基督」兩作品分類在「藝術觀之塔」最上層，這兩作品共通的題材是「救贖」。芥川的藝術之於人生，所需要的就是一瞬間的「法悅」及「救贖」。「奉教人之死」是透過信仰的力量，也不禁讓人聯想到芥川自決時，身旁放的聖經。而金花則是透過某種「信念」，把自己身上的性病給治好了，這種「奇蹟」發生在了金花身上。而奇蹟及救贖產生的原因，都緣由於他們所「相信」的事。本論文僅以芥川前期的作品作為分析對象，未能分析到芥川晚年的作品，留有許多仍可論述的地方，敬請見諒，筆者將留作將來研究之對象。

This thesis mainly focuses on Akutagawa Ryunosuke’s Early-term works. For the purpose of analyzing his art concept and the relationship between his life and his art concept. It’s well known for everyone that after Akutagawa Ryunosuke has gone, people set a reward for his name. It’s called Akutagawa reward. Akutagawa reward is for artists who dedicates to their works which are “artistic”. This also makes Akutagawa an extremely “artistic” writer in Taisho era. This thesis includes six works in Akutagawa Ryunosuke’s Early-term. These are “Rashomon”, ”Hana”, ”Gesakuzanmai”, ”jigokuhen”, “The Martyr”, “The Christ of Nanjing”. For the purpose of analyzing his art concept in his Early-term, I raise a concept called “The Tower of Art Concept ”, and I put “Rashomon”, ”Hana” in the lowest level in the TOWER. ”Gesakuzanmai”, ”jigokuhen” in the middle. “The Martyr”, “The Christ of Nanjing” in the top level. The reason why I put these two works in the lowest level is because these two works are written in a heartbreaking period for Akutagawa. He experienced a grieved catastrophe with a girl. And he realized that how bound his life was. While he wrote “Rashomon” and ”Hana”, he was trying to write “happy” works. But of course, “Rashomon” and ”Hana” are not “happy” works at all, In “Rashomon”, there are dead bodies all over, and characters in “Rashomon”, have to figure out ways to live in tough situations, just like he did. And in ”Hana”, the leading role’s destiny is that “dream is just dream”. Akutagawa’s works are so connected to his life. For the purpose of understanding his concept of art, I chose these six works. Next, in the middle level are ”Gesakuzanmai”, ”jigokuhen”. These two works are written in the period which is called the “Most Artistic” period in Akutagawa’s life. The leading roles are both artists. One is talented, cold-blood. The Other struggled in his life, but was rescued by his grandson. It seems different between these two types of “artists”, but actually in the TOWER, which “The Martyr”, “The Christ of Nanjing” are in the top, the rescue is the most important thing in the TOWER. That is also the reason why I put these two works in the top level. There are still many works in Akutagawa’s Late-term, which so many materials can be analyzed. I will keep doing research.