姓名: 曹鈞甯
系所名稱: 天主教輔仁大學比較文學與跨文化研究所
指導老師: 李奭學教授
論文題目: Spiritual Importance of Emotions: Aristotle, Nietzsche and the
Homeric Epics
荷馬史詩中情感的意義:亞里斯多德中道理論與尼采酒神精神
關鍵字: 情感；非理性；神祕主義；荷馬；史詩；亞里斯多德；倫理學；尼采；悲劇精神；老子；莊子；道家
論文總頁數: 兩百五十頁
摘要正文:
本論文中，我認為荷馬史詩裡阿基里斯，奧德修斯與潘妮洛碧的英雄事蹟是建構在情感的能量而非理性判斷能力，是情感讓英雄人物堅持不放棄目標，而非理智。
第一章介紹亞里斯多德中道理論中過與不及均非完善狀態，適中為理想。而尼采的酒神精神我引申為人的情感，被理性壓抑卻從未消失，它的本質是隱晦、柔軟、癲狂、毀滅與再生的。酒神精神與阿波羅精神分庭抗禮才算是理性與感性的平衡，也才達到中道的狀態。接著我使用陽、陰、合詮釋情感的型態。第二章戰場代表陽剛的力量，是情感癲狂與毀滅的面向，以阿基里斯之怒為例，怒氣激發了他的勇氣，為尋求永恆榮耀寧可放棄生命，同時也克服了他在世間的苦難。第三章地獄隱喻著陰柔，為情感緩解撫慰與再生的面向，奧德修斯在地獄與母親鬼魂相遇，母愛修復並完整了他。即使地獄代表著死亡與罪惡，但也是贖罪與重生的開始。第四章家代表了陰陽最終的融合。潘妮洛碧漫長的等待與奧德修斯無盡的歸途都是由愛所驅動，讓情感呈現協調的狀態，同時也用理性能力智取敵人，是另一層面的感性與理性融合平衡。
情感如水般不停地改變，適應環境，不爭居於劣位，反而是最高貴的。我並不質疑亞里斯多德的中道理論是讓平凡人達到幸福生活的靈藥，但若人要尋求超凡，追求更高理想，甚至為理想犧牲，情感卻是讓人堅持到底不放棄的關鍵，但這樣的精神，是看不見也無法被證明的。少了情感，人無法蛻變為英雄，因為英雄是情感淬鍊的。情感能讓人放棄自利，昇華為大愛，真正的英雄精神是無私的。若亞里斯多德的中道理論是最高的善與極端的正確，理性與情感應如同尼采的阿波羅與酒神精神不斷的激盪衝突與平衡。

Name: Tsao Chun-Ning
Institution: Department of Comparative Literature and Cross Cultural Studies, Fu-Jen Catholic University
Advisor: Professor Sher-shiueh Li
Thesis: Spiritual Importance of Emotions: Aristotle, Nietzsche and the Homeric
Epics
Keywords: emotion; irrationality; mysticism; Homer; epic; Aristotle; Nicomachean Ethics; Nietzsche; tragic spirit; Daoism; Laozi; Zhuangzi
Length: 250 pages
Abstract
In this thesis, I believe that the heroic achievements of Achilles, Odysseus and Penelope in the Iliad and the Odyssey are based on emotion and emotion makes heroes insist on their goals and overcome obstacles.
In Chapter One, I discuss that Aristotle’s the middle way theory is the ideal state, and excess and deficiency are both not recommended in Nicomachean Ethics. Then, I talk about Nietzsche’s concepts of the Apollonian and the Dionysian in The Birth of Tragedy. He thinks that the clashes between these two forces make Greek tragedies great. The essence of the Dionysian is mysterious, instinctual, intoxicating, and destructive. I parallel the Dionysian with the Chinese idea of yin and I associate the force of yin with human emotions. I employ yang (陽), yin (陰) and integration (合) to interpret diverse types of emotions. In Chapter Two, the battlefield is seen as yang which represents the passionate and destructive side of emotion, and I use Achilles’s rage as an example. His rage arouses his courage to give up his life for permanent honor and glory, and conquers all his sufferings. In Chapter Three, I parallel the underworld with the force of yin and it represents the curing and reviving ability of emotions. Hades may be described as a notion of sin and death, but it can be the dawn of atonement and rebirth. Odysseus’s encounter with his mother’s spirit in this mysterious space is entirely spiritual and his mother’s love not only alleviates his pain but also cures his trauma. Love enables him to continue his journey. In Chapter Four, I use home as the integration of yang and yin and associate that Penelope’s long wait and Odysseus’s insistence of going home are because of love. Their emotions are in a harmonic state and they outwit their enemies with schemes; Odysseus and Penelope’s ultimate reunion symbolizes the fusion of reason and emotion.
Emotion is similar to water which changes its shape unceasingly, adjusting to the environment, relinquishing to opposition, and staying in the lowest position willingly. Therefore, Laozi thinks that water is the noblest matter. I believe that to practice Aristotle’s the middle way is a good way to achieve happiness for common men; but if men are looking for transcendence or hope to sacrifice their lives for higher purposes, emotion will be the crucial element of human perseverance. This spirit of persistence is usually can’t be seen or be proved by solid evidences. Humans can’t become heroes without emotion because heroes are forged by love and trials. Emotion can make people give up their self-interests to blossom into great love and real heroes are selfless. If Aristotle’s the mean state is the highest good and extremely correct, reason and emotion should be contradicting, oscillating, and balancing as Nietzsche’s the Apollonian and the Dionysian.