左傾還是右轉－葉榮鐘第三文學論

葉榮鐘優越的中日文書寫使之順利跨越戰前戰後書寫藩籬，與洪炎秋、許達然同為六○年代僅有的省籍散文家，左翼或右傾的前行研究歸類，無法說明葉榮鐘創作立場與文學主張，正如「第三文學」之名，這是有別於二者的「由小資產階級與知識階級領導」立場，戰前他所致力的漢民族抗日運動亦基於此定位。本文以一九三一年至一九三二年《南音》雜誌出刊期間作為歷史演變的一個切片，佐諸葉榮鐘全集作品探討其「第三文學」理論，兼顧時間與空間的評價，知其理論與社會間構築的互動關係。以持續書寫作為一種溫柔的抵抗態勢，晚年更以《日據下台灣政治社會運動史》、《台灣人物群像》由文學轉向史學勤勉筆耕，由其一生創作驗證，葉榮鐘不愧為手執鐵筆揮硬論的雜文巨擘。

關鍵字

葉榮鐘；第三文學；南音

並列摘要

With the predominant Chinese and Japanese writing skills, Yeh, Jung-Chung crosses successfully both the pre-WWⅡand post-WWⅡwritten limitations. He is a Provincial-owned writer in the sixties in Taiwan, like Hung Yen-Chi and Xu Da-Ran. All previous papers written by The Left-Leaning Concept or Rightist Campaign classification cannot interpret the creative position and literary ideas of Yeh, Jung-Chung. Just like what the Third Literary Theory mentioned, his theoretical position is different from those of petite bourgeoisie and the intellectual class. The idea of his anti-Japanese Movement of Taiwanese before WWII is based on this as well. This paper is on the basis of a section published in 1931-1932 by the ＂South Sound＂ magazine and in cooperation of complete works written by Yeh, Jung-Chung's the Third Literary Theory. Both Take time and space evaluation into account to help us realize the interaction of his theory with the society. He keeps his writing as a gentle resistance. In his later years, he writes diligently ＂Under the Japanese occupation of Taiwan political and social movement history＂ and ＂The face of Taiwan characters＂, which lead his writing from literature to history . From the complete works written by Yeh, Jung-Chung, we can clearly and firmly believe that he is an outstanding critical essay writer.