| 摘要: | 「英雄旅程」是近來文學研究中相當受重視的議題，本文擬以最新的英雄旅程理論，即克里斯多夫．佛格勒（Christopher Vogler）在《作家之路：從英雄的旅程學習說一個好故事》一書中提出的「英雄旅程十二階段」作為基準，來比較韓國巫俗始祖〈鉢里公主〉與中國民間信仰的〈妙善公主〉，藉以檢視〈鉢里公主〉和〈妙善公主〉這兩個故事是否真的具有高相似性，繼而探析西方的「英雄旅程」理論是否能放諸四海而皆準?能否印證約瑟夫·坎伯所主張的神話故事乃是「單一神話」的主張? 從比較神話學的觀點出發，找出不同文化間的神話故事是否具有單一原型，為神話學中至今仍無法解釋的故事相似性問題作為研究基礎。根據本文研究結果，〈鉢里公主〉和〈妙善公主〉的故事雖然存在許多不同設定，如〈鉢里公主〉中可以窺見神權與王權的對立，而〈妙善公主〉中卻呈現父權和子女的抗爭，但撇除這些不同設定不說，就結構而言，兩個故事皆大致符合里斯多夫．佛格勒的「英雄旅程十二階段」，惟許多階段僅以一個敘事情節簡單概括，且〈鉢里公主〉和〈妙善公主〉的故事敘述均著重在第一幕與第二幕，與西方神話相比，缺乏第三幕「歸返」的描述，尤其東方神話有著重強調英雄出生不凡的傾向，是以本研究透過比較，試圖規整精簡出東方英雄之旅的七個階段，即「非凡出生」→「歷險的召喚」→「遇上師傅」→「跨越第一道門檻」→「試煉、盟友、敵人」→「苦難折磨」→「帶著仙丹妙藥歸返」。此公式還有待更多的研究加以驗證完善。
" Hero's journey " is a topic that has received considerable attention in recent literature studies. This article intends to use the latest hero journey theory, Christopher Vogler’s "Twelve Stages of Heroic Journey" as the benchmark in " The writer's journey : mythic structure for writers " is used as a benchmark to compare the first ancestor of Korean wizardry "Princess Bari " with " Princess Miaoshan " of Chinese folk belief，In order to check whether the two stories "Princess Bowl" and "Princess Miaoshan" really have high similarity, and explore whether the Western theory " Hero's journey "can be applied to the Oriental ? Can the single myth advocated by Joseph Campbell be verified. From the perspective of comparative mythology, trying to find out if the mythology between different cultures has a single prototype ,and used as the research basis for the similarity of the story that is still unexplainable in mythology. According to the research results of this article, According to the research results of this article, although there are many different settings for the story of "Princess Bari " and "Princess Miaoshan", for example, "Princess Bowl" can see the confrontation between the god power and the king power, but in "Princess Miaoshan" it shows children fighting with the fatherhood, but apart from these different settings, not to mention, in terms of structure, both stories are roughly in line with Christopher Vogler ’s " hero's 12 stage journey" , but many stages are simply summarized in a narrative, Moreover, the story narratives of "Princess Bari " and "Princess Miaoshan" focus on the first act and the second act. Compared with Western mythology, the description of the third act "return" is lacking. In particular, Oriental mythology has a tendency to emphasize the extraordinary birth of heroes,
Therefore, in this study, through comparison, we try to organize and simplify the seven stages of the journey of oriental heroes. Namely "Extraordinary Birth" → " The Call to Adventure " → " Meeting with the Mentor " → "Crossing the First Threshold" → " Tests, Allies, and Enemies" → " The Ordeal " → " Return with the Elixir ". This formula needs to be verified by more studies. |
