路易士（紀弦）在「淪陷期」上海的活動－以《詩領土》為中心的考察

本文探索詩人路易士（1949年以後在台灣用「紀弦」為筆名）在日人全面佔領上海期間（1941年12月－1945年8月，或稱「淪陷期」）的文藝活動與意義，並以其在1944年興辦的詩刊《詩領土》為主要材料。路易士在尚未來台之前，三○年代從施蟄存等人主編的《現代》現身文壇，後持續參與戴望舒、杜衡的文藝活動，由於詩風、詩觀以及往來朋友的緣故，自視為「現代派」詩人。此一自我定位貫穿其後來的文學活動。四○年代，日人佔領上海期間，路易士滯留上海，創辦《詩領土》詩刊，組織「詩領土社」號召同人，為「現代派」詩歌在上海保留一線生機，與汪政府相關人士保持若即若離的關係，可窺得文人在此一非常時空中的複雜選擇。準此，本文整理期刊資料，辨析其中意涵，以作為觀察路易士「淪陷期」上海文壇活動的參考，填補重要現代詩人紀弦相關研究以及「淪陷期」文學研究中，較少被人注意的一塊。雖以刊物研究為主，亦加入路易士詩作分析，指出其不同於前一輩現代派詩人之處。以上也是作為日後更宏觀、整全性的四○年代前半期上海文壇研究的基礎。

關鍵字

路易士；紀弦；淪陷期；現代派；詩領土

並列摘要

This article explores the literary activities of the young poet Lu Yishi (路易士) in Japanese-occupied Shanghai (1942-1945), with special consideration of his journal ”Shilingtu” (詩領土) (est. 1944) and its significance for the development of modernism in Taiwan, where Lu Yishi (better known under his postwar pen name Ji Xian紀弦) moved in 1949.Lu Yishi made his literary debut in the journal Les Contemporains (現代), edited by Shi Zhexun (施蟄存), and joined the literary circles around Dai Wangshu (戴望舒)and Du Heng (杜衡), eventually identifying himself with the ”modernist” movement (現代派). Continuities with this position are clearly recognizable in the ideas and poetic styles that Shilingtu professed to, a journal that so far has received little attention.At the onset of the anti-Japanese war, Lu Yishi preferred to stay in Shanghai, rather than fleeing to Chongqing (重慶)or Yan'an (延安) as many of his peers did. Neither did he stop publishing, like other writers who remained in the occupied city. For his willingness to publish in newspapers and magazines associated with the Wang Jingwei (汪精衛)government, and for his contacts with intellectuals collaborating with Wang's regime, Lu Yishi has been labeled a ”traitor” (hanjian漢奸). It is for this reason that he had to change his pen name after fleeing to Taiwan. While the concern of this article is not to reverse the verdict on Lu, it shows the complex choices of a writer with fiercely modernist ambitions under wartime conditions in the occupied city.Based on the investigation of Lu Yishi's literary activities in the 1930s and 1940s, and especially the journal ”Shilingtu”, I argue that this little-known publication and its editor are a key link in the transmission of modernist writing from Shanghai to Taiwan.