從《聲律啟蒙》到「新聲律啟蒙」

陳麗真

指導教授 ： 許俊雅

國立臺灣師範大學/文學院/台灣文化及語言文學研究所在職進修碩士班/碩士(2011年)

摘要

蒙學傳統自古已有，《聲律啟蒙》是其中教人作詩屬對的教材，一般人均以其作者為清朝車萬育，但是早在元朝，祝明已著有《聲律啟蒙》二卷，其內容與清朝流通版相當類似，可以說是其原型；此外，潘瑛續寫後三卷，明朝劉節、馬崇儒又分別加以增補校訂，另有明朝蘭茂撰《聲律發蒙》等，都是接踵祝明之後的作品，可以說《聲律啟蒙》是歷代層累創作的成果，並非車萬育個人所作。
在臺漢人不只以傳統《聲律啟蒙》作為蒙學教材，清末以來，日治時期至戰後，尚陸續出現一些仿作：清末施士洁《鄉談聲律啟蒙》可能已開始注入臺灣的在地元素；林珠浦與林緝熙為補充傳統版本平聲韻的不足，都著有《仄韻聲律啟蒙》，風格也多遵循傳統；以上三者尚保留最初的文學教育目的。此外，還有許多異於傳統風格的仿作：一九二○年代《臺灣》雜誌的仿作表現出文化抗日的特色，逐漸脫離傳統的教育目的，開始發出時代的呼聲，為舊文學注入了新靈魂；另外，《鳴鼓集》第二集仿作中充斥辛辣的情色用語及嚴厲的詛咒，徹底顛覆了《聲律啟蒙》的「雅」傳統，也對《三六九小報》的仿作風格產生了重要的影響；《民眾法律》雜誌中出現的仿作意謂日本殖民統治下的臺灣人處於新舊法銜接的過渡期，充滿動輒得咎的痛苦無奈，雜誌教導民眾增進對於西方新式法的了解，幫助臺灣百姓克服困境、減輕痛苦，展現了臺灣知識份子的自力救濟與同胞愛；《風月報》/《南方》系列雜誌中也可見到相關仿作的改寫、重刊與新作，其中《南方》的仿作中融入了二次大戰的戰爭氛圍，表現了臺灣人在異族統治下身分認同的矛盾；《南瀛文獻》中〈臺諺聲律啟蒙〉的刊登則是國民政府時期語言轉換後的異數。
總而言之，《聲律啟蒙》在臺灣陸續發展出的各種仿作，各有其不同的時代背景與意義，更因為脫離了科舉考試的桎梏，其仿作已逐漸脫離原本文學啟蒙的教育目的；其風格也融入臺灣的風土民情，已多不是傳統典故的運用；其內容的多樣性更表現出臺灣在政治、社會、法律、文學、語言等不同面向的發展，早已不是傳統版本寫景、抒情的風貌；尤其《三六九小報》「新聲律啟蒙」專欄，是臺灣在一九三○年代鄉土文學 / 臺灣話文的具體實踐，也是常民文學的記錄，更是在臺漢人本土化、在地化的一大明證。

關鍵字

《三六九小報》 ； 本土化 ； 車萬育 ； 鄉土文學 ； 臺灣話文 ； 《聲律啟蒙》

並列摘要

Tradition Meng Learning has existed since ancient times in China; within this subject, the Sound of Enlightenment has traditionally been used as the teaching material for poetry. Though the authorship of this seminal work has often been attributed to Chai Wan Yu in the Qing Dynasty, the issue of authorship is much more complicated than that. As early as the Yuan Dynasty, Zhu Ming has composed two volumes of the Sound of Enlightenment that were similar to and were earlier than the one written by Chai Wan Yu. Additionally, Pan Ying appended three volumes, and in the Ming Dynasty, Liu Che and Ma Chung-Ru separately edited this work. In addition, the work of Lan Mao《Rhythm Fameng》in the Ming Dynasty followed in the footsteps of Zhu Ming's ideas. Given this evidence, it can be concluded that the Sound of Enlightenment is an achievement accumulated by several people's efforts from many dynasties instead of the achievement of Chai Wan Yu.
People of Han in Taiwan have adopted the Sound of Enlightenment as the teaching material for poetry for a long time. Several similar works have been published since the late Qing Dynasty and also during the period of time from the Japanese Colonial Period to after World War II. These works include the《Hometown Rhythm Enlightenment》 written by Shi Shijie in the late of Qing Dynasty, in which one can see Taiwanese local culture began to be incorporated into this work. In the same vein, Lin Zhu Pu and Lin Ji-hee to supplement the deficiency of traditional flat phonological within the original version with their 《Zeyun Rhythm Enlightenment》. Besides the three above authors which adhered to the original educational purpose of Sound of Enlightenment, there are also other similar works that deviates from the traditions of Sound of Englightenment; indeed, the column of the《Newest Rhythm Enlightenment》of The Formosa Magazine shifted focus on using poetry as a means to resist Japan culture in 1920s, reflecting the popular sentiments of the time and injecting new energy into this ancient literary field. Another work, Ming Gu Ji was full of harsh language and common slangs, a complete turnaround from the elegant and elevated style of Sound of Englightenment, and had profound influence on later works such as San Liu Jiu Tabloid Newspaper. During the Japanese occupation of Taiwan, a difficult and tortuous time of transition for Taiwanese, Public Law educated people regarding the newer ways of the West to ease their suffering, demonstrating the Taiwanese educated elites’ ability to raise themselves up and willingness to lend a helping hand to their fellow Taiwanese. Similarly, Fong Yue Newspaper and Nan Fang Magazine incorporated sentiments of World War II as well as the contradiction Taiwanese felt under Japanese occupation. Closer to the present day, the Taiwanese Sound of Enlightenment within Nan Ying Literature reflects the language transition brought about by the Kuomintang government.
Ultimately, the different works in Taiwan that followed in the footsteps of Sound of Enlightenment reflect deeply the culture of their times and hence should no longer be read with the single purpose of educating for Imperial Examination. These works incorporate the blossoming local Taiwanese culture and tradition, demonstrating the evolution of politics, society, law and journalism in Taiwan. The column of 「new enlightenment Tones」of the 《San Liu Jiu Tabloid Newspaper》especially is the concrete practice and record for the Local Literature and Taiwanese language in the era of 1930, and it is also the best evidence for the localization of the Han Race in Taiwan.

並列關鍵字

San Liu Jiu Tabloid Newspaper(3-6-9 Tabloid) ； localization ； Chai Wan Yu ； Native literature in Taiwan ； Local language in Taiwan ； Sound of Enlightenment

參考文獻

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毛文芳，＜情慾、瑣屑與詼諧——《三六九小報》的書寫視界＞，中央研究院近代史研究所集刊第46期，2004年12月，頁159-222。

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