本論文以愛爾蘭文學運動時期重要的劇作家約翰‧辛恩之戲劇作品為研究對象，析論其劇作之價值與特色，探究其文本當中反覆出現的主題與人物之原型所具備的象徵意義。辛恩的劇作特色一方面顯現為愛爾蘭的農民戲劇，其劇中人物、場景、用詞和語言皆取材自辛恩與鄉間農民、漁夫和流浪漢相處時的紀錄，具備了寫實主義的特徵；另一方面也藉由劇情的轉折與角色的鋪陳，來體現辛恩自身的戲劇美學與生命理想，因而具備了奠基於真實情境的藝術性。此外，若以辛恩的生命歷程與其戲劇作品相互對照，則更可發現，辛恩所抗拒的社會價值觀，也多半成為其劇作中需打破的藩籬。然而辛恩的戲劇作品當中的象徵意義，不僅用以反射其自我生命的圖像，還藉由親近大自然與愛爾蘭鄉間的農民，將他所觀察到的特色氛圍灌注在其劇作當中，使之具備了該時該地的特徵。同時也藉由他自身對藝術的堅持與美學觀點，使他的劇作成為獨特而充滿寓意的作品。

This thesis focuses on the works of dramatist J. M. Synge, whose plays set a unique mode to the successors in the period of Irish Literary Renaissance in the early twentieth century. By means of analyzing the texts, the values and the symbols of those reoccurring themes and the archetypes of the characters which can easily be found in Synge’s plays also came visible. Synge’s works are always known as “Peasant Play,” which derives from the way he adopted the local anecdotes which he collected from the countryside of West Ireland, as well as how he faithful represented the lives of those western peasant lives. In doing so, Synge weaved his own ideals into them, shaped them with his aesthetic judgments, and finally made those works art.
While analyzing the texts of Synge’s plays, the importance of symbols in the plays are more meaningful while Synge’s personal life was put into consideration as well. The restrictions and consensus toward religion, marriage, and women position in the society of the early twentieth-century Ireland which Synge didn’t valued, also became the barriers and challenges in the plays. The ideals and dreams which are held by those peasants also show the same characters to which Synge held. Though this thesis is not to focus on the autobiographical traits in Synge’s works, it is also valuable to have another access to analyze the symbols in Synge’s plays. While Synge’s plays honestly revealed and unveiled the lives and ambience of certain period of place and time, the personal ideas and ideals he put into the plays made them universal instead of local.

參考書目
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