論海明威〈Hills Like White Elephants〉空間意象
一、前言
本文嘗試論述海明威短篇小說〈Hills Like White Elephants〉中的空間意象。從皮耶˙布迪厄（Pierre Bourdieu 1930-2002）社會理論中對於象徵權力的解釋，並為之觀點切入文本空間加以詮釋。從文本背景、文本畫面、對話與典型人物動作，進一步詮釋作者之意象，或論其中之涵義——群山、白象、墮胎、男女、對話、酒吧、喝酒、火車站等等，諸多字詞筆者都嘗試整理後論述。
因為是英文選讀的關係，也嘗試用英文編寫；但明顯似乎無法完成全文使用英文，因此請老師多多包涵中文夾雜英文。
The story “Hills Like White Elephants,” by Ernest Hemmingway, is about a young couple and the polemic issue of abortion. Though the word “ abortion” is nowhere in the story, it is doubtlessly understood through Hemmingway’s powerful use of two literary elements: setting and symbolism.[1]
這篇小說首次發表在西元1927年出版的小說集《沒有女人的男人》（Men Without Women）之中。故事用記敘手法來描寫男女間關係和墮胎問題。《白象似的群山》在大多數評論中都是簡潔且易讀，小說中象徵技巧，簡單卻又寫實的對話，及將廣泛的爭議話題——墮胎——納入小說之中。這些情節構成這個小說易於引導到海明威最低限度的故事風格，此即海明威所陳述的冰山理論[2]（Iceberg Theory）。小說也勾勒了角色設定可以對小說的意義提供多大的貢獻程度。
小說內容簡介，在西班牙的某個小火車站，由巴薩隆那開往馬德里的快車還有四十分鐘到站。一對男女，他們在車站的酒吧外喝酒，等著火車。這期間大约半個小時，兩個人交談著，小說書寫了男女間談話的情形。女方懷孕了，男人感到有些不耐煩，希望女方去墮胎。
而小說內文，對話佔了大部分篇幅。也是因為如此筆者在分析就對話的空間意象試圖論述作者書寫風格下的深厚含意。
二、空間意象分析
對於象徵性權力布迪厄從語言互動中有一套方法論與邏輯運行；但對於空間中並未有更多論述。筆者將小說文本的畫面，擬設為一個空間做為論述基礎。任何人都不應該忘記，最好的溝通關係，也就是語言交換活動，其本身同樣也是象徵性權力的關係；說話者之間的權力關係或者跟他們相關的群體之間的權利關係，就是在這種語言交換活動中的現實的。[3]
筆者透過說話者與文本空間交叉論述。布迪厄認為整個社會就是一種通過語言而進行象徵性交換的市場，簡單的說社會就一個語言交換的市場。並非簡單的溝通與語言交換，更是說話者之間權力關係的相互競爭、比較與協調。人與人間的語言交換就像商品一樣，有一種類似商品交易的關係在語言的象徵。
筆者依據小說情節與對話者間的對話轉換，粗略如此歸類：
空間
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文本描述
|
男女對話前的郊區景色，男女間疏離感給象徵的表現。
|
The hills across the valley of the Ebro
were long and white. On this side there was no shade and no trees and the
station was between two lines of rails in the sun.
|
在酒吧的女孩望著郊區
|
白色象群詞語出現的空間
|
男女對話後
|
喝酒的空間
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「墮胎」詞語出現前與後描述的重複空間與物品
|
桌子、門簾、白色象群、郊區、火車站
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只在墮胎詞語出現後的物品
|
行李
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恰似語言交換後無結果的空間移動、男女間話題的結論，男方始終掌握較多優勢與主動，女方座位不動保持微笑，如白象似的群山單純的思考關於其、男子與胎兒之間的關係。
|
He picked up the two heavy bags and
carried them around the station to the other tracks. He looked up the tracks
but could not see the train. Coming back, he walked through the bar-room,
where people waiting for the train were drinking. He drank an Anis at the bar
and looked at the people. They were all waiting reasonably for the train. He
went out through the bead curtain. She was sitting at the table and smiled at
him.
|
The hills across the valley of the Ebro were long and white. On this side there was no shade and no trees and the station was between two lines of rails in the sun. Close against the side of the station there was the warm shadow of the building and a curtain, made of strings of bamboo beads, hung across the open door into the bar, to keep out flies.
立的方式，確立了故事的大方向，也將男女間疏離感給象徵的表現。往後文本發展便透過女方視角更明確的表達出這樣的陌生感覺。
立的方式，確立了故事的大方向，也將男女間疏離感給象徵的表現。往後文本發展便透過女方視角更明確的表達出這樣的陌生感覺。
The girl was looking off at the line of hills. They were white in the sun and the country was brown and dry.
‘They look like white elephants,’ she said.
‘I’ve never seen one,’ the man drank his beer.
‘No, you wouldn’t have.’
‘I might have,’ the man said. ‘Just because you say I wouldn’t have doesn’t prove anything.’
‘They look like white elephants,’ she said.
‘I’ve never seen one,’ the man drank his beer.
‘No, you wouldn’t have.’
‘I might have,’ the man said. ‘Just because you say I wouldn’t have doesn’t prove anything.’
作者於此處開始了空間的轉變，從最開始的單純描述景色到這段即具有象徵意義的白象與換酒種喝出現。白象似的群山出現後對話馬上出現一種諷刺性的情節出現：喝酒這樣的一個動作，在典型人物女方的表現與白象似的群山有相同之
‘It tastes like liquorice,’ the girl said and put the glass down.
‘That’s the way with everything.’
‘Yes,’ said the girl. ‘Everything tastes of liquorice. Especially all the things you’ve waited so long for, like absinthe.’
‘Oh, cut it out.’
‘You started it,’ the girl said. ‘I was being amused. I was having a fine time.’
‘Well, let’s try and have a fine time.’
‘All right. I was trying. I said the mountains looked like white elephants. Wasn’t that bright?’
‘That was bright.’
‘I wanted to try this new drink. That’s all we do, isn’t it – look at things and try new drinks?’ ‘I guess so.’
The girl looked across at the hills.
‘They’re lovely hills, she said. ‘They don’t really look like white elephants. I just meant the colouring of their skin through the trees.’
含意，彷彿男方的權力受到抵抗。從對話的語氣及醞釀的話題，女方沉著且保護自己的立場。文本繼續到將出現的刺點時The warm wind blew the bead curtain against the table.空間的描述出現，代表著男女間的對話關係，將進入另一種氛圍。作者使用如此對話關係與穿插空間景緻技巧，使文本節奏出現快慢與畫面感的浮現。‘It’s really an awfully simple operation, Jig,’ the man said. ‘It’s not really an operation at all.’刺點出現——文本中重要的墮胎訊息透過這樣的一個緩慢與空間的轉換跳出；依序轉變為1.荒涼的郊區2.移動至酒吧喝酒 3.白象的詞語出現與嘗試品嚐新酒 4.刺點出現再微風吹向門簾與桌子。
如此的空間鋪陳，刺點之後出現三句話：The girl looked at the ground the table legs rested on. The girl looked at the bead curtain, put her hand out and took hold of two of the strings of beads.‘I know. But if I do it, then it will be nice again if I say things are like white elephants, and you’ll like it?’前兩句帶出門簾與桌子，最後一句回到一開始的白象似的群山空間。男女間的對話，產了某種程度的無奈，這種彷彿交換一般，男方是一位推銷員不停的向女方推銷商品；女方很猶疑的不安的更開始帶有些不耐的跟男方確定，「我要是買了這個樣品真的可以達到這些效果嗎？」的懷疑態度。
文本依循相同手法，情節進行運用空間的流動轉變男女間的關係：女方走向
車站未端，透過樹葉又看見了荒涼的郊區‘And we could have everything and every day we make it more impossible.’如此文本進入男方的持續延伸其權力：They sat down at the table and the girl looked across at the hills on the dry side of the valley and the man looked at her and at the table.女方視角依舊望著郊區的荒涼空間。兩者間似乎無法有所共識。第二刺點即出現，女男對話的交易破裂；權力流
‘Would you do something for me now?’
‘I’d do anything for you.’
‘Would you please please please please please please please stop talking?’ He did not say anything but looked at the bags against the wall of the station. There were labels on them from all the hotels where they had spent nights.
動產生了碰撞。男方強制似的持續進行權力蔓延‘But I don’t want you to,’ he said, ‘I don’t care anything about it.’‘I’ll scream,’ the girl siad.作者於此巧妙了安插第三個刺點The woman came out through the curtains with two glasses of beer and put them down on the damp felt pads.‘The train comes in five minutes,’ she said.穿過門簾的女仕與即將進站的火車，阻止了男方持續進行的推銷。
作者在最後部份運用了行李與門簾，男方極為平淡離去又回來，讓女方更明確自我的立場。
He picked up the two heavy bags and carried them around the station to the other tracks. He looked up the tracks but could not see the train. Coming back, he walked through the bar-room, where people waiting for the train were drinking. He drank an Anis at the bar and looked at the people. They were all waiting reasonably for the train. He went out through the bead curtain. She was sitting at the table and smiled at him.
‘Do you feel better?’ he asked.
‘I feel fine,’ she said. ‘There’s nothing wrong with me. I feel fine.’
門簾從文本一開始的用途敘述為遮擋蒼蠅，女方緊握，微風吹拂晃盪最後男方穿過，象徵著女性自覺的萌發，遮擋一些簡單的不合理事務，確立自覺經歷創傷後重新思考男、女與胎兒之間的關係。
筆者從最多的空間描述與男女間對話，交叉對比後嘗試詮釋小說中的深層之意。空間意象往往與其中所處之人有極大關係，而意象之表現手法如俄國蒙太奇[4]理論的方式；在〈Hills Like White Elephants〉中用簡單的對話與象徵方式將對話中男女微妙關係隱喻出來，也表現一種日常生活美學的書寫手法。白象似的群山，其可見四季的緩慢變化，群山屹立的空間意象；表露女男雙方權力流動之意。
‘That’s the way with everything.’
‘Yes,’ said the girl. ‘Everything tastes of liquorice. Especially all the things you’ve waited so long for, like absinthe.’
‘Oh, cut it out.’
‘You started it,’ the girl said. ‘I was being amused. I was having a fine time.’
‘Well, let’s try and have a fine time.’
‘All right. I was trying. I said the mountains looked like white elephants. Wasn’t that bright?’
‘That was bright.’
‘I wanted to try this new drink. That’s all we do, isn’t it – look at things and try new drinks?’ ‘I guess so.’
The girl looked across at the hills.
‘They’re lovely hills, she said. ‘They don’t really look like white elephants. I just meant the colouring of their skin through the trees.’
如此的空間鋪陳，刺點之後出現三句話：The girl looked at the ground the table legs rested on. The girl looked at the bead curtain, put her hand out and took hold of two of the strings of beads.‘I know. But if I do it, then it will be nice again if I say things are like white elephants, and you’ll like it?’前兩句帶出門簾與桌子，最後一句回到一開始的白象似的群山空間。男女間的對話，產了某種程度的無奈，這種彷彿交換一般，男方是一位推銷員不停的向女方推銷商品；女方很猶疑的不安的更開始帶有些不耐的跟男方確定，「我要是買了這個樣品真的可以達到這些效果嗎？」的懷疑態度。
文本依循相同手法，情節進行運用空間的流動轉變男女間的關係：女方走向
The girl stood up and walked to the end of the station. Across, on the other side, were fields of grain and trees along the banks of the Ebro. Far away, beyond the river, were mountains. The shadow of a cloud moved across the field of grain and she saw the river through the trees.
‘Would you do something for me now?’
‘I’d do anything for you.’
‘Would you please please please please please please please stop talking?’ He did not say anything but looked at the bags against the wall of the station. There were labels on them from all the hotels where they had spent nights.
動產生了碰撞。男方強制似的持續進行權力蔓延‘But I don’t want you to,’ he said, ‘I don’t care anything about it.’‘I’ll scream,’ the girl siad.作者於此巧妙了安插第三個刺點The woman came out through the curtains with two glasses of beer and put them down on the damp felt pads.‘The train comes in five minutes,’ she said.穿過門簾的女仕與即將進站的火車，阻止了男方持續進行的推銷。
作者在最後部份運用了行李與門簾，男方極為平淡離去又回來，讓女方更明確自我的立場。
He picked up the two heavy bags and carried them around the station to the other tracks. He looked up the tracks but could not see the train. Coming back, he walked through the bar-room, where people waiting for the train were drinking. He drank an Anis at the bar and looked at the people. They were all waiting reasonably for the train. He went out through the bead curtain. She was sitting at the table and smiled at him.
‘Do you feel better?’ he asked.
‘I feel fine,’ she said. ‘There’s nothing wrong with me. I feel fine.’
門簾從文本一開始的用途敘述為遮擋蒼蠅，女方緊握，微風吹拂晃盪最後男方穿過，象徵著女性自覺的萌發，遮擋一些簡單的不合理事務，確立自覺經歷創傷後重新思考男、女與胎兒之間的關係。
三、結論
一部小說除了簡單與耐人尋味外，無非讓讀者具有非常大的後續想像與龐大的解釋空間。The story ends with the couple expecting their train’s arrival in five minutes. There is no resolution and there is no decision stated regarding the abortion. Hemmingway’s interweaving of setting and symbolism helps him juice each sentence to provide maximum detail. This story was not only intended for the pleasures of reading, but also though provocation. Hemmingway has intentionally left the readers to conclude for themselves what will happen next.筆者從最多的空間描述與男女間對話，交叉對比後嘗試詮釋小說中的深層之意。空間意象往往與其中所處之人有極大關係，而意象之表現手法如俄國蒙太奇[4]理論的方式；在〈Hills Like White Elephants〉中用簡單的對話與象徵方式將對話中男女微妙關係隱喻出來，也表現一種日常生活美學的書寫手法。白象似的群山，其可見四季的緩慢變化，群山屹立的空間意象；表露女男雙方權力流動之意。
參考資料
書籍：
1. Ernest Hemingway著，成寒譯，《流動的饗宴：海明威巴黎回憶錄》（台北：時報文化，2008）。
2. Ernest Hemingway.(1955). Men without women. New York :Scribner.
3. Alison Booth, J. Paul Hunter, Kelly J. Mays. (2006). The Norton introduction to literature. New York :W.W. Norton.
4. Jennifer Mather Saul著，國立編譯館主譯，謝明珊譯，《女性主義：議題與論證》（高雄：巨流，2010）。
5. Tim Creswell著，王志弘、徐苔玲譯，《地方：記憶、想像與認同》（台北：群學，2006）。
6. Pierre Bourdieu著，劉暉譯。《藝術的法則》（北京：中央編譯出版社，2001）。
7. Mark Cousins著，楊松峰譯，《電影的故事》（台北：聯經，2005）。
8. 高宣揚，《同濟˙法蘭西文化叢書——布迪厄社會理論》（上海：同濟大學出版社，2004）。
9. 王志弘編譯，《性別、身體與文化譯文選》（台北：譯者出版，1995）。
10. 廖炳惠編，《關鍵詞200：文學與批評研究的通用辭彙編》（台北：麥田出版，2003）。
11. 邱貴芬導讀、蕭立君導讀，《女性主義文學批評，後殖民主義》（台北：文建會，2010）。
書籍：
1. Ernest Hemingway著，成寒譯，《流動的饗宴：海明威巴黎回憶錄》（台北：時報文化，2008）。
2. Ernest Hemingway.(1955). Men without women. New York :Scribner.
3. Alison Booth, J. Paul Hunter, Kelly J. Mays. (2006). The Norton introduction to literature. New York :W.W. Norton.
4. Jennifer Mather Saul著，國立編譯館主譯，謝明珊譯，《女性主義：議題與論證》（高雄：巨流，2010）。
5. Tim Creswell著，王志弘、徐苔玲譯，《地方：記憶、想像與認同》（台北：群學，2006）。
6. Pierre Bourdieu著，劉暉譯。《藝術的法則》（北京：中央編譯出版社，2001）。
7. Mark Cousins著，楊松峰譯，《電影的故事》（台北：聯經，2005）。
8. 高宣揚，《同濟˙法蘭西文化叢書——布迪厄社會理論》（上海：同濟大學出版社，2004）。
9. 王志弘編譯，《性別、身體與文化譯文選》（台北：譯者出版，1995）。
10. 廖炳惠編，《關鍵詞200：文學與批評研究的通用辭彙編》（台北：麥田出版，2003）。
11. 邱貴芬導讀、蕭立君導讀，《女性主義文學批評，後殖民主義》（台北：文建會，2010）。
[2] The Iceberg Theory (also known as the "theory of
omission") is a term used to describe the writing style of American writer
Ernest Hemingway. The theory is this: The meaning of a piece is not immediately
evident, because the crux of the story lies below the surface, just as most of
the mass of a real iceberg similarly lies beneath the surface.參考網路資料。
[4] 蒙太奇是電影創作的主要敘述手段和表現手段之一，相對於長鏡頭電影表達方法。即將一系列在不同地點，從不同距離和角度，以不同方法拍攝的鏡頭排列組合（即剪輯）起來，敘述情節，刻畫人物。憑借蒙太奇的作用，電影享有了時空上的極大自由，甚至可以構成與實際生活中的時間空間並不一致的電影時間和電影空間。蒙太奇可以產生演員動作和攝影機動作之外的「第三種動作」，從而影響影片的節奏和敘事方式。所謂的蒙太奇理論最初是由謝爾蓋·愛森斯坦為首的俄國導演所提出，主張以一連串分割鏡頭的重組方式，來創造新的意義。
