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題名：榮格原型形象研究再探: 托爾金《魔戒三部曲》 英雄回‧歸之旅
作者：袁民慧
作者(外文)：Ming-Hui Yuan
校院名稱：國立高雄師範大學
系所名稱：英語學系
指導教授：歐司迪
學位類別：博士
出版日期：2011
主題關鍵詞：魔戒三部曲；托爾金；原型形象；個體化；智慧老人；榮格；The Lord of the Rings；J. R. R. Tolkien；archetype；Individuation；Wise Old Man；Carl Gustav Jung
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英國文學家托爾金(J. R. R. Tolkien)專攻盎格魯撒克遜(Anglo-Saxon)歷史和語言。因感嘆英國缺乏創世神話，既展開一系列英雄傳奇之創作。本論文以榮格(Jung)原型理論(英雄,母親,父親,聖童,貞女,智慧老人與惡精靈)加諸坎伯(Campbell)於《千面英雄》(The Hero with a Thousand Faces)所提及的英雄旅程循環論來探討托爾金《魔戒三部曲》中之形象研究—哈比人,巫師甘道夫,白袍薩魯曼,波羅莫,法拉莫,伊歐玟及中土世界諸王—其在魔戒之戰中所顯現出超於榮格理論之英雄特質，人性陰影及個體化過程，與托爾金夢想烏托邦相互呼應。
第一章以托爾金的創作簡史來闡述其具嚴謹等級體系之中土世界如何開展出與史詩傳統相異的英雄之旅。 第二章探索哈比人與遠征隊在魔戒任務中所遇到的援助及險難。 短小孩子氣的哈比人成為此任務的要角，冒險潛入險路處處的魔多之域以摧毀至尊魔界，而非如史詩英雄取得寶貴的實惠，以此彰顯功高彪炳，恰與榮格或坎伯的英雄理論相反。 哈比人此行的目標正如莎翁《暴風雨》一劇中的Prospero—放下權力，獲得最終的自由—來捍衛大自然美好簡單的本質。
第三章比較研究三位智慧老人—甘道夫，薩魯曼和迪耐瑟之形象以間接否定榮格的原型研究觀。 本章也進一步探究雙塔，至尊魔戒及真知晶球自相矛盾的功能特質，進而爬梳榮格理論中陰影的概念。 第四章探索榮格從未在其研究中所提及的國王形象—但此形象深植於古今中外之文化層面，是智慧老人及父親的升格變形。 基於榮格原型形象都有兩極性的概念，在上位者或是嚴父，是仁者，卻也是位不折不扣的殺戮者，此章即以希優頓王，攝政王迪耐瑟，魔王索倫和人皇亞拉岡分析國王形象的對立性。 而本論文所探討的英雄回歸主題，其定義即多層面向。 冒險在外，遠離家鄉，魔界遠征隊並非為了尋得神奇寶物或絕世美女，而是將至尊魔戒退貨於末日火山，致使索倫權力崩解，人皇回歸中土大陸，精靈王們得以歸隱極西之鄉。 哈比人於任務結束之後的保衛家園之役，也是另一歸鄉之旅。 因此，哈比人與遠征隊成員首次旅行目的是捍衛中土諸國間的和平，戰後的返鄉之旅，哈比人必須挺身而出，才能享有得之不易的永續平和。
第五章則運用烏托邦理論評述托爾金藉由《魔戒三部曲》抨擊機械時代中環境汙染和權力腐化的弊病。 在本章討論中，我們得知托爾金的英雄們之所以不凡，並非源於榮格所提出的基因傳遞理論，而是珍視友誼、自我犧牲且不屈不撓所贏得的最終勝利。 第六章為一總結，以綜合論述之方式探討諸英雄人物的善惡糾葛及天人交戰之意義。 這是一個為毀滅寶物而堅毅不屈的旅程，也是一個扣人心弦的史詩故事。 托爾金創建的夏爾及中土大陸提供後現代讀者一個沉醉不已的世界，書寫一千頁旋即喚起廣大讀者群潛意識裡共同形象的強烈情感反應，其影響開啟無數奇幻文學創作之先河，這正是他智者的驗證。
This dissertation discusses the archetypal quest and heroic return among Frodo and Sam, and other Hobbits, the Wise Old Men, Kings, and mortal heroic figures— such as Boromir, Faramir, and Éowyn—according to Carl Gustav Jung’s hero archetype, Joseph Campbell’s discussion of the heroic journey in The Hero with a Thousand Faces and as found in Tolkien’s realm where heroic deeds provide the story with imaginative resolutions to real contradictions, which are based on Tolkien’s own experiences in life. First, this introduction has provided a sketch of Tolkien’s life in chronological order and a mythological analysis of archetypal heroes through the journey taken in The Lord of the Rings.
Chapter One discusses how Tolkien creates both a very hierarchical and, in some ways, very conventional world as a setting for a very non-conventional quest—a quest that negates the one embarked upon by the Jungian archetypal hero. Next, Chapter Two explores the episodes relating to “the call of adventure” and the “road of trials” in The Fellowship of the Ring. For one thing, the heroes of the journey, especially the Hobbits, do not intend to venture into some distant lands to bring back a precious boon, vouchsafed to them by some higher power, such as the Gods or some legendary ancestor. Rather, their goal is torrid—as Prospero rids himself of his seductive magic in The Tempest—Middle-earth of a cursed object with great power to manipulate and corrupt anyone who wields it. Chapter Three compares how Tolkien charts an ambivalent effect in The Two Towers; the One Ring on the suffering of the bearers and the rivalry between the Wise Old Men—Gandalf, Saruman and Denethor—negating the Jungian archetype. Chapter Four observes how the Fellowship of the Ring resolves most of its difficulties out of love and faith and the heroes’ archetypal quest of return. Additionally, based on Jungian concept of polarity, this chapter also discusses different analysis on Kings in The Return of the King— King Théoden, Denethor, the Nazgûls, Sauron and Aragorn. The term “Journey of Return”, is itself ambiguous in The Lord of the Rings. First of all, the adventure out, away from the Shire, is called the Journey of Return, the idea being to return the Ring to its place of origin in order to destroy it. The journey home, however, can also be deemed a journey of return, since the Hobbits are returning to the Shire. Thus, the goal of the first journey is to return Middle-earth to its earlier era of universal peace. The second journey of return is to return the Hobbits to the Shire, to their homeland, where they can enjoy this universal peace. Finally, Chapter Five expounds the scouring of the Shire in Utopian terms, for The Lord of the Rings is a criticism of the modern world and of the values of technological civilization. In these discussions we will see that this negated type of monomyth of the transformations of Tolkien’s heroes in a cosmogonic cycle due to the value of faith and anti-mechanistic forces can be excavated from the text. Tolkien’s imaginative utopia offers the reader a compelling and absorbing world to evoke the unconventional archetypes within us nowadays.
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