论《国王正在死去》对“死亡恐惧”的双重伦理规训

The Double Ethic Disciplining of the “Death Fear” in Le Roi se meurt

本文于荒诞派戏剧的传统解读模式和经典阐释路径之外,关注尤奈斯库戏剧《国王正在死去》中的"死亡恐惧"和与之相关的"伦理规训"过程,并结合作家自身的创作理念与相关思考,力图对这一荒诞派经典作品提出新的观照视角和作出新的文本解读。尤奈斯库用艺术想象在该剧中安排了一场处于伦理价值和日常人性的冲突境遇中的"死亡演练",使得对"死亡恐惧"的伦理规训过程成为中心问题,并于存在意义之上显现出双重性与悖论性。一方面,伦理规训需要以"征服"和"战胜"的方式来避免"死亡恐惧"对存在意义和价值的吞噬;另一方面,伦理规训又必须以留存"死亡恐惧"为前提来确保在存在中直面、对抗和思考死亡的必然性。然而在这一双重伦理规训行动的绝对胜利之下,是回归绝对主体性的自闭与缺失,以及对于在他者之域中重建价值可能性的忽略与盲视。

Differing from the pattern of traditional interpretations for classic absurd theatres, this paper focuses specially on the ＂death fear＂ and the ＂ethic disciplining＂ of it in Eugene Ionesco＇s play Le Roi se meurt, and aims to reinterpret and reunderstand the text in a new perspective based on both the play itself and the author＇s related thinking through the whole writing career. By doing so, this paper finds that the play can be regarded as a ＂death rehearsal＂ realized in its illusional realm, which unfolds that how the ethic disciplining of ＂death fear＂ appears as the most essential theme of the play, and above all, the duplicity and paradox of this disciplining in the meaning of existence. On the one hand, the ethic disciplining views it necessary to conquer and defeat the ＂death fear＂ so that the values and meanings of existence would not be destroyed. But on the other hand, to assure that the dying individual should face, resist against and think about the necessity of death, the ethic disciplining has to save the ＂death fear＂ from all sorts of dissolving and deconstructing. Although ending in its ＂triumph＂, this double ethic disciplining is eventually locked into the limitation of ＂ultimate self＂ by ignoring the possibilities of rebuilding and extending the meaning of existence on the ethic relationship with ＂others＂.