從危機到生機:
華滋華斯詩的自我之形成
中 文 摘 要
本研究旨在探討華滋華斯詩中的詩的自我之形成。華氏詩的自我之形成與他對法國革命的希望以及後來的幻滅有極大的關係。法國革命給人類自由帶來希望，可是後來卻演變成血腥的恐怖時期以及獨裁，使原本對革命抱著無限希望的知識份子頓時幻滅。這樣的經驗激發了浪漫時期的新文學，因此法國革命是浪漫文學的「主要主題」以及「時代精神」。華氏詩作記錄了他對法國革命從滿懷希望到希望破滅的心路歷程。華氏試圖浴火重生，因而轉向內心力量的追求，然而華氏自始至終未曾放棄革命理想。其所以轉向大自然、詩以及想像力，目的是希望藉詩來實現最初理想。職是，華氏詩的自我實為其革命的自我之延續。華氏將他心路歷程以危機自傳模式來敘述，即是一種從危機到生機的教育過程。華氏的危機來自兩方面:政治上來自他對法國革命的幻滅;道德土來自他對理性主義及機械必然論的失望。空洞的理論對人類福祉無益，反而會導致道德混亂。華氏的生機來自大自然、想像力以及詩人身份的肯定。華氏在追求內在自我的過程中，恢復了他對自然的愛，童年的想像力以及詩人崇高的使命感。如此一來，華氏將政治上的失意轉化成創作上的動力。
首章綜論華氏從危機到生機的過程。主要內容為法國革命與華氏失望之問的關係;華氏對理性主義之批評，以及其保守主義之轉向;華氏鉅作隱士之計畫與詩的自我之間的關係以及汀潭寺與華氏想像力恢復之關係。
次章論華氏革命自我的形成，主要以詮釋序曲中的「法國書」三章為主。詮釋方式是以歷史自傳角度為主。三章論華氏詩的自我之形成，主要是詮釋序曲其他各章中有關華氏想像力的源頭及其恢復的過程。華氏從哲學上的經驗論以及心理學上的聯想論轉向詩學中的唯心論，但是華氏不是純粹的唯心論，而是懷疑式的唯心論。由此可見，華氏想像力中的矛盾衝突之處。本章的詮釋角度以現象學以及心理學為主。
四章論華氏最長詩作遠遊。該詩為其未完成鉅作隱士的第二部。遠遊一詩主要目的是為因法國革命失敗而絕望的知識份子重燃希望而作。全詩主旨為糾正孤獨者絕望的心態，而使他重返社區，為人類福祉盡一己之力。該詩為孤獨者與流浪者、牧師、詩人之間的一連串辯論，這些辯論實為華氏內心的自我對話，其顯示華氏內心的矛盾衝突。該詩以孤獨者離去，依然未受改變，而在詩人只能期待下次辯論的情況下結束。

From Crisis to Regeneration:
The Formation of Poetical Self in Wordsworth's Poetry
Abstract
The present study aims to examine the formation of Wordsworth’s poetical self through the investigation of his canonical poems. The poems in question include The Prelude, The Excursion, The Recluse fragment, some of his major lyrics, such as “Tintern Abbey” and “Intimations Ode,” and some of his important sonnets. Wordsworth’s unfinished philosophical poem, The Recluse, embodies his poetical selfhood. The formation of Wordsworth’s poetical self has much to do with his successive experiences of hope and disappointment associated with the French Revolution. To Wordsworth, the French Revolution seemed to offer a millenarian vision for his generation, but the failure of the French Revolution produced a moral and imaginative crisis as well as a political crisis for most young intellectuals of Wordsworth’s age. In fact, the experiences of the initial boundless hope for the French Revolution and the later disillusionment with it evoked and shaped the great new literature of the Romantic period. The French Revolution was both “master theme” and the “spirit of the time” for the Romantic poets. Wordsworth’s major poetry recorded these experiences of hope and disappointment as part of the growth of a poet’s mind. This growth was narrated in a crisis-autobiography narrative mode, that is, an evolving educational process from spiritual crisis to its restoration. Therefore in tracing Wordsworth’s poetic development, we will trace his development from the crisis of his early revolutionary to the imaginative restoration of his later poetical self. Wordsworth’s political crisis comes from the failure of the French Revolution that had promised the millennial hope for human race degenerated itself into the Terror Reign of Robespierre. When he turns to Godwinism for moral support, Wordsworth encounters his moral crisis. Godwinian unfeeling rationalism and his mechanical necessitarianism lead only to moral anarchy, and the hollow concept of universal benevolence does more harm than good to humanity. As a result, Godwinism fails to offer the philosophical guidance for Wordsworth’s millenarianism; it only offers him a “universe of death.” Wordsworth’s recovery begins at Alfoxden, where Dorothy and Coleridge help him find his true identity as a poet-prophet,. As a poet-prophet, like his great predecessor, John Milton, Wordsworth is to restore the millennial ideal to his disillusioned generation in the philosophical epic, The Recluse. Wordsworth’s revolutionary self in his early years is thus continuous with his later poetical self. The formation of Wordsworth’s poetical self can also be seen as a story of how he turns away from the political revolution as the means to social amelioration and turns instead to creative imagination by looking inside the mind of the individual to find the very much needed self-sufficiency of faith energy as the basis of future felicity for mankind. In this way Wordsworth turns political disappointment into creative gain.
Chapter One surveys Wordsworth’s formation of poetical self from crisis to its final restoration. Wordsworth’s political and moral crises come from his involvement with the French Revolution and the necessitarianism of Godwin. The French Revolution brings Wordsworth millenarian hope, but when it degenerates into the Terror Reign of Robespierre, he becomes despondent. He seeks support for his millenarianism in Godwinism, but is further disappointed by its unfeeling rationalism. Wordsworth’s restoration begins with Dorothy’s timely help to bring him to his true self by regaining his ability to appreciate Nature; and with the fruitful literary association with Coleridge, Wordsworth attempts to revive his millenarianism in the scheme for The Recluse, whose purpose is to restore the millennial hope to those people who were disillusioned in the French Revolution.
Chapter Two consists of a detailed reading of the France Books of The Prelude which discusses Wordsworth’s republicanism and revolutionary self formed through the friendship with Michel Beaupuy, and Wordsworth’s despondency in relation to Robespierre. This chapter also explores Wordsworth’s moral crisis in relation to Godwinism, and concludes with a reading of Wordsworth’s post-Godwinism drama, The Borderers, and other short poems to demonstrate his anti-Godwinism. Chapter Three investigates Wordsworth’s poetical self. After his disillusionment with the French Revolution and subsequent moral despair from Godwinism, Wordsworth seeks his poetical selfhood in creative imagination and self-sufficiency in the mind. This chapter discusses Wordsworth’s imagination in relation to Nature, the One Life, and Memory. Wordsworth traces the origins of his creative imagination to the intimations of immortality in early childhood. Memory for Wordsworth is redemptive because it brings intimations of immortality. The epiphanic moments in Wordsworth’s childhood experiences, the so-called “spots of time,” or “visionary dreariness” in their relation to memory and the imagination. The “spots of time,” as Wordsworth states, are “the hiding-places of man’s power” which show that “[t]he mind is lord and master—outward sense / The obedient servant of her will.” (XII, 179; 22-3). Wordsworth’s imaginative recovery can be seen as a move from empiricism in philosophy and associationism in psychology to poetic idealism. Yet Wordsworth is critical of his excessive idealism. So we see conflict within Wordsworth’s mind between nature and visionary imagination. Following the lead of Hartman and Bloom, we will discuss the inherent contradiction between Wordsworth’s self-consciousness and his glorification of Nature, and see how Wordsworth reconciles the imagination with the here and now of immediate reality.
Chapter Four is a reading of Wordsworth’s longest poem, The Excursion, which is intended to be the middle part of the unfinished poem, The Recluse. The Excursion is an argument for hope. It is to console the despondency of the Solitary and to try to bring him back to human community again. The Solitary is the despondent Wordsworth and the Wanderer, who admonishes the Solitary and tries to make him believe in a superintending Providence, is the redeemed Wordsworth. The debate between the Solitary and the Wanderer can be considered as a debate within Wordsworth’s mind. The central question in The Excursion is whether the Solitary will be converted by the Wanderer, the Poet, and the Pastor. But as the poem ends, the question of the Solitary’s conversion remains unresolved. He is the same despondent Solitary as we first met him. This chapter offers a detailed reading of the First Book of The Excursion, the biography of the Wanderer and the tale of Margaret. In conclusion, we have argued that Wordsworth’s poetical self stems from his revolutionary self and that his early radical years are consistent with his later poetical self. Yet instead of a simple Wordsworth, we have seen an indeterminate Wordsworth as the debate between the Solitary and the Wanderer shows. It is a common opinion that the best of Wordsworth’s poetry was composed when the tension of hope and doubt comes to a zenith. Therefore the best approach to Wordsworth’s poetry is to see Wordsworth vacillating between unresolved tensions and continuous dialogue with himself.

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