摘要 | Abstract
《荒原狼》可以被讀作一部「世俗化的救贖敘事」，但反對將其過度簡化為「黑塞以自我救贖改寫聖經的墮落、試探、審判與復活」。更精確地說，黑塞保留了宗教經驗的結構性張力——罪疚、迷失、異象、審判、死亡、永恆與超越——但將其置入心理、藝術、音樂、遊戲與人格整合的場域。本文修正了原有的四重結構框架，指出赫爾米娜並非撒旦，赫爾米娜之死是哈里的失敗而非成功的獻祭，「學會笑」更接近「再試一次」的勇氣而非復活的保證，並以「他者」與「恩典」作為基督教與黑塞思想最深層的差異。
Steppenwolf can be read as a “secularized narrative of redemption,” but argues against oversimplifying it as “Hesse rewriting biblical fall, temptation, judgment, and resurrection as self-redemption.” More precisely, Hesse preserves the structural tensions of religious experience—guilt, lostness, vision, judgment, death, eternity, and transcendence—but relocates them into the realms of psyche, art, music, play, and the integration of personality. This paper revises the original fourfold framework, demonstrating that Hermine is not Satan, that Hermine’s death signifies Harry’s failure rather than a successful sacrifice, that “learning to laugh” more closely resembles the courage to “try again” rather than the assurance of resurrection, and that “otherness” and “grace” constitute the deepest difference between Christianity and Hesse’s thought.
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