不用胡鬧了─《紅樓夢》荒誕意識的對反、超越與消解

賈寶玉在離開賈府時所說的最後一句話是：「走了，走了！不用胡鬧了！完了事了！」顯示出賈府生活的一切，此時在寶玉的心目中都是胡鬧。此外，小說中也在多處出現「荒唐」的評述，加以小說諸多情節的描寫，在在顯現出作者對人世的種種作為充滿了荒誕的感受。這些荒誕意識和小說的主題密切結合，表現為多層次且具辯證性的意涵。本文從四個層面來分析《紅樓夢》的荒誕意識：第一層是作者透過眾多世俗之眼所判斷的寶玉的荒誕性，說明寶玉在賈府處境的孤獨荒涼，使他成為熱鬧的孤獨者；作者於此書寫出弔詭的荒誕意識。第二層是賈府生活在光鮮亮麗與禮數周到的表象下，所隱藏的扭曲異化的人心，與虛無空洞、欠缺意義的腐化與虛矯。以上兩層荒誕彼此對反，是外緣的荒誕。第三層荒誕是由生命的本質來反省世俗生命追求的荒誕性，在為他人作嫁衣裳、機關算盡反誤己以及真假迷妄的悲劇荒誕安排中，由寶玉的出家來超越這層荒誕。第四層是由究竟超脫的層次來反省，世人眼中寶玉的荒誕怪異，其實正是他較眾人更容易超越的重要助緣：情執深重易生空幻悲感，因而逼出對治空幻的出離心；鄙棄世俗價值，因而容易放下人世的追求；無所沾滯的流動性，因而以專注當下來對應剎那生滅的無常。於此，第一層眾人眼中寶玉的荒誕性，就自然消解了。

關鍵字

紅樓夢；賈寶玉；荒誕；悲劇

並列摘要

The last remark Baoyu had made when leaving Jia's Mansion was ”Leaving! I'm leaving! Stop all the nonsense! It's over.” The remark fully demonstrated that in Baoyu's mind, everything gorgeous in the Jia's Mansion was nothing but nonsense. In addition, a great deal of narratives and comments in the novel address such ”absurdity” of the worldly matters, which reflect the author's perspective and appreciation of the world. Such perspective on absurdity links closely with the theme of the novel, thereby exhibiting multi-layered connotations. The current paper aims to analyze the absurdity in Dream of the Red Chamber in four respects. First, the author exposes the absurdity of Baoyu's behaviors through the eyes of ordinary people around him, thus manifesting Baoyu's solitude and isolation in Jia's Mansion, a loner in the hilarious household. Second, the author accurately describes the distortion and estrangement of souls and the meaningless degradation and hypocrisy hidden under the glory, splendor and courteousness. The above two layers of absurdity are contrastive, and display the outward absurdity. Third, the author exhibits the absurdity by juxtaposing the original state of life and the mundane pursuit, through a series of plots showing the ambiguity of truth and falsehood the tragedies produced from deliberation and cunningness, resulting in Baoyu's becoming a monk. Fourth, the absurdity is viewed through the detachment of Baoyu; in other words, it is the absurdity of Baoyu that ironically leads him toward ultimate transcendence. Due to his sentimentality and clinging to love, he is more prone to melancholia and disillusionment than other people, which finally lead him to renunciation. Furthermore, the condemnation of worldly values easily relinquishes him of all the mundane pursuits, which renders him a free person able to concentrate on the very moment and embrace the vicissitude of the universe. Hence, Baoyu's absurdity, the first-layered absurdity, which comes from the eyes of ordinary people, dissolves.