本論文檢視威廉．布雷克詩作《天真與經驗之歌》、《阿美利加：一個預言》與《歐羅巴：一個預言》中的基督教原型，並試圖討論詩人如何以性慾做為方法來再現與修正這些原型。第一章提出「修正」與「原型」的基本定義。並討論傳統基督教神話中，神/父親、自然/母親以及人類/孩子所組成的神聖家庭關係，進而指出性慾在該神話建構中所扮演的重要角色。第二章探討《天真與經驗之歌》的多層次結構：在《天真之歌》中，自然的原型被馴化/去性化為一個虛幻的伊甸園，並被挪用為壓迫個人慾望的宗教手段。而在《經驗之歌》中，詩人企圖重新召喚自然並賦予她性活力，以警示世人宗教對於性慾的扭曲與汙名化。第三章透過基督教類型學(typology)的角度閱讀布雷克兩部早期的預言書《阿美利加》與《歐羅巴》中耶穌與上帝的父子對立。布雷克以神話角色傲克(Orc)和尤力臣(Urizen)做為耶穌和上帝的原型修正，並以他們之間的衝突象徵性解放與性壓迫之間的永恆鬥爭。而自然/母親的原型則由傲克的母親依妮薩萌(Enitharmon)呈現，以批判傳統基督教中童貞聖母形象所代表的禁慾主義。第四章總結前述，指出布雷克再現與修正傳統基督教神話中的原型，並藉由將性慾重新納入基督教神話中，創造出一個更自由且更有活力的新基督信仰。

This thesis aims to examine the Christian archetypes in William Blake’s Songs of Innocence, Songs of Experience, America: a Prophecy, and Europe: a Prophecy, and to discuss how Blake re-presents and revises them through an approach concerning sex as a form of human desire. Chapter One provides the basic definitions for “revision” and “archetype,” and illustrates the divine familial relationship of God the father, Nature the mother, and human beings the children in orthodox Christianity. This chapter also shows how sex functions in the forming of this relationship, on which the orthodox Christian mythology is constructed. In Chapter Two, I discuss the multi-layered structure of the Songs. In the Songs of Innocence, the archetype of Nature is domesticated/desexualized as an illusionary Eden, employed as a religious device to oppress human individuals, especially about sexual prohibition. In the Songs of Experience, Nature is re-called and sexualized by the poet to warn human beings of the religious distortion and blackening of sex. Chapter Three focuses on two early prophetic books of Blake, America and Europe, through the scope of “arche-typological” antithesis between God/the father and Jesus/the son. The Christian archetypes of God and Jesus are respectively reified by Blake’s mythical characters Urizen and Orc, and their war signifies the eternal strife between sexual liberation and oppression. The Nature /mother archetype is presented as Enitharmon to criticize the sexual prohibition represented by the image of Virgin Mary. Chapter Four concludes that Blake’s own unique version of Christianity is embodied by his re-presentations and revisions of the archetypes in the orthodox Christian mythology. By re-including sexual desire into such a mythology, Blake presents a new and more liberal Christian belief.

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