參孫力士：戲劇改編與情感研究

Abstract

近幾年在研究彌爾頓學術界，「參孫力士」一直是重點研究之一，但「參孫力士」的改編研究卻是被學者們所忽略。本論文著重在其西方到東方的戲劇改編以及討論各時代的主要改編作品與其時代背景的關係。從建立起其時代背景，第二章開始論述「參孫力士」的情感架構，以討論彌爾頓如何在十七世紀英國背景下，重新塑造參孫，如何運用聖經文本以及基於亞理斯多德詩學中的討論，再定義自己的悲劇以及悲劇英雄的意義 。第三章探究韓德爾對本詩在1743年的清唱劇的改編，討論韓德爾的「參孫」如何有效地透過音樂凸顯此情感豐富的英雄，以及在改編理論中，檢視韓德爾的參孫是否成功地詮釋他自己的想法。第四章基於包寶瑞教授(Professor Timothy J. Burbery)在「彌爾頓：戲劇家」(Milton: the Dramatist)對於本詩改編的歷史研究，透過改編理論的架構，討論二十世紀的主要改編者如何把首詩改編成為戲劇。第五章分析目前言唯一也是最新的日本能劇改編，「散尊」。其討論高橋睦郎先生，一位聞名全球的日本詩人也是本劇的劇本作者，如何在禪宗佛教，能劇，日本武士的背景下，重新建構這個東方參孫。此新的作品，代表著高橋先生對於彌爾頓在本詩的希伯來，古希臘以及基督教化參孫的批評。本章也討論高橋先生如何重新建構這個新的參孫，以期冀以他新角度的閱讀，能對二十一世紀的日本觀眾和彌爾頓學者有所貢獻。

Although Samson Agonistes has been one of the focuses of Miltonic scholarship in recent decades, adaptations of Samson Agonistes have tended to be neglected by Miltonic scholars. This dissertation focuses on adaptations, West to East, through their contexts. Having established the contexts for the different adaptations, chapter two then establishes the emotional context of Samson Agonistes to discuss Milton’s appropriation of the biblical texts, his redefinition of tragedy and tragic hero based on Aristotle’s Poetics, and historical backgrounds in the recreation of his Samson through Samson’s emotional architecture. The third chapter explores Handel’s adaptation of Samson Agonistes in 1743 to discuss how effectively Handel’s Oratorio Samson foregrounds this emotional hero through music, and how Handel’s Samson works for his own political and historical contexts in terms of adaptation theory. The fourth chapter discusses how the major adapters in the twentieth century in the West adapted this poem into stage performances based on the historical survey by Professor Timothy J. Burbey in his Milton: the Dramatist. The fifth chapter analyzes the recent and only Japanese adaptation of Samson Agonistes, Noh Samson. It also discusses how Mr. Mutsuo Takahashi, a globally known Japanese poet and a writer of this Noh adaptation, reinvented an Eastern Samson in the context of Zen Buddhism, Noh Theater, and the Japanese warrior, the samurai (侍). This is a new work of art that represents Mr. Takahashi’s critical responses to the way in which Milton presented Samson as a Hebraic, Hellenic, and Christianized hero in this poem. Hence, this chapter also discusses how successfully Mr. Takahashi recreated this new Samson, and the extent to which he contributes another way of reading in the 21st century for both the Japanese audience and Miltonists.