芥川童話“蜘蛛絲”的救贖及童話性

The Fairy Tale Quality and Salvation in Akutagawaryunosuke's Kumonoito

王綉線(Hsiou-Hsien Wang)

《明道學術論壇》 3卷1期 (2007/08) Pp. 177-188

https://doi.org/10.6953/MJ.200708.0177

摘要

〈蜘蛛絲〉的原典是《因果的小車》的第四部分〈蜘蛛絲〉。本研究藉由芥川的創意－蓮花的象徵、釋迦牟尼佛扮演的角色、犍陀多為何無法得救的原因來分析作品中的救贖；進而從芥川的創作技巧探討作品的童話性。
芥川將原典中犍陀多對佛陀的絶對皈依，改寫成釋迦牟尼佛並非全知全能，而犍陀多也不知釋迦牟尼佛的存在，因此犍陀多必須「自己悟道」才能得救，這種救贖具有「原始佛教」之傾向。
「原始佛教」中闡明：釋迦牟尼佛不斷修行才悟出相通於佛教戒律和一般倫理道徳的「法」，皈依「法」的他，心就如同蓮花一樣出淤泥而不染。所以白蓮的象徵和他皈依「法」的心不無關係，也就是說白蓮具有如「法」般的無垢及絶對性。故事中的蓮花池底部就是地獄，因此犍陀多要由地獄解脫到極樂世界，就必須具有白蓮般的無垢、捨棄「我執」之心。
芥川去掉原典中的「説法」，運用了戲劇的「三一致」、明確的悲劇收場、余韻的技巧，很清楚地描寫犍陀多的「無慈悲」，讓小讀者陶醉於故事的情節之餘，可以思考犍陀多的救贖－不是依賴釋迦牟尼佛，而是必須「自己悟道」才能得救。由此可見芥川是有意識到童話的特質，才作如此描寫。

關鍵字

童話 ； 蜘蛛絲 ； 因果的小車 ； 芥川龍之介 ； 比較文學

並列摘要

The original record of Kumonoito is from the fourth section of Inganooguruma, Kumonoito. This study analyzes the fairy tale nature and salvation in terms of Akutagawaryunosuke's creativity: the symbol of lotus, the role of Sakyamuni Buddha, the reason that Kandata can not get the salvation.
Akutagawaryunosuke rewrote the story. Kandata's absolute conversion to Buddha in the original record was rewritten as that Sakyamuni Buddha is not almighty and that Kandata does not realized Sakyamuni Buddha's existence. Therefore, Kandata can get salvation only through Satori (self-realization), a kind of salvation very close to original Buddhism.
Original Buddhism defines that Sakyamuni Buddha realized the Hou (a religious model related to doctrines that are the same as moral ethics) by constantly practicing Buddhist rules. He who converts to Hou has the heart of lotus, which grows out of the dirty mud without being smirched. Therefore, the symbol of lotus has connection with his determination to convert to Hou; that is, lotus is as smudgeless as Hou and is the Absolute. In the story, the bottom of the lotus pond is the hell; therefore, if Kandata wants the salvation from the hell to reach the world of ecstasy and peace, he must be as smudgeless as the lotus and abort his clinging to the world.
Akutagawaryunosuke eliminated the Buddhist viewpoints in the original story and used clear tragedy catastrophe and skills to give introspection from the story; that is, unities in drama. This was to motivate the child readers to think of the fact that Kumonoito's salvation lies not in Sakyamuni Buddha but in his satori. We can see that Akutagawaryunosuke made such descriptions with the recognition of fairy tale quality.

並列關鍵字

fairy tales ； Kumonoito ； Inganooguruma ； Akutagawaryunosuke ； comparative literature