史識與詩心：近現代舊體詩「詩史」的觀念遞變與戰爭書寫（1840-1945）

本論文以〈史識與詩心：近現代舊體詩「詩史」的觀念遞變與戰爭書寫（1840-1945）〉為題。「詩史」本是評述杜甫詩風的批評術語，歷經千餘年的理論層累，已發展成龐大的詩學體系。標榜為「詩史」的寫作，往往能徵用中國古典龐大的歷史記憶和思想資源，引導人們對相類情境產生古今之間的聯繫。舊體詩詞繼承了中國古典詩文中被稱為「詩史」的文學概念，這種指涉「史家即詩人」或「詩人即史家」的書寫傳統，在文學表述和歷史書寫之間，創造一種互相融涉但界限模糊的互文空間，它們對戰爭的描寫，也進一步通過「詩史」的書寫和其傳播效力，使人們對歷史事件的情感成為一種集體的記憶和情緒，進而產生影響輿論走向的能量。論文通過「戰爭」的詩史書寫為觀察的窗口，從晚清第二次英法聯軍之役的〈圓明園詞〉，到中日甲午戰爭產生的相關詩歌吟詠，以及1931-1945的中日十五年戰爭期間的戰爭事件中的「詩史」書寫，來討論「詩史」在近現代情境下產生的重大改變。一方面嘗試補白文學批評史對「詩史」的研究：包括「抒情」和「敘事」如何弭合、「詩史」之辨體論從經學框架到現代文史學科間觀念的古今落差；另一方面亦力圖拓展「詩史」在研究方法及文獻的新境。除了批評術語的知識考掘學外，「詩史」的書寫實踐案例，同樣可開顯「詩史」在近現代的詩學意義。本文也嘗試延伸討論視角，由「古典」展延至「近現代」，由「中國文學」擴及「漢詩文化圈」，期能藉由討論的深化與廣化，呈現十九世紀下半葉到二十世紀上半葉的百年間，伴隨世變情境與知識轉型，「詩史」詩學在其中的遞變歷程。第一章為「緒論」，說明研究背景及選題目的。提出「詩史」為何需置放在「晚清民國」情境裡研究的意義。「詩史」體系龐大，在近現代尤須克服因新舊典範轉移、文史學科分立、舊體詩的新時代課題等衝擊造成的纏結。本章試圖提出解決纏結的關鍵：首先是「詩史」研究應結合學術史考察，才能由「詩史」之觀念轉移照見學術典範之變遷；其次是理論批評外，也應從「書寫實踐」考慮「詩史」的理論內涵。第二章為「追憶裡的王朝園林──以王闓運〈圓明園詞〉為核心的討論」。〈圓明園詞〉被視為晚清詩史之冠冕，在哀感時事、表現時代、可傳於後等特質上，皆展現「詩史」在「詩心」和「史識」上的表現。「詩史」除了「史」之意識外，更有「事」的脈絡。但一旦關涉於「事」，不免有「徵實」之應然與實然的衝突。無論認為「詩史」足補軼聞，或攻擊它虛誣非實，或是重視詩歌裡的文學表現，將它視為召喚過去的文本風景。文學中「真實」的再現問題，拉出了「詩史」究竟是「詩具史筆」或是「史蘊詩心」的議題。第三章為「戰爭中的春秋著史──以抗戰時期姚伯麟、徐佛蘇的詩史著作為核心的討論」。繼踵前章推證詩、史區辨的思維。本章以二十世紀四○年代兩部以「詩史」為名的長編舊體詩集為考察對象，姚伯麟的《抗戰詩史》和徐佛蘇的《國難歌史及詩史》。在古典的語言形式外，兩部作品都雜揉鮮明的現代特徵，可回應「詩國革命」後「舊體詩」如何從「文體」和「文用」表現「詩史」理論的突破與再生。文體上，徐、姚皆視格律為舊體詩的基本要素，但在出版形製與編排意識上，以自注、補注等「副文本」補足了詩歌的敘事職能。針對「詩史」傳統本身，徐、姚也都展現趨新而不固守的態度。二人對年月時地與事件徵實的準確性訴求，也顯示二人都重視詩的「史料」價值。但其吟詠間，亦不乏個人主觀情感的抒發與呈現。他們是「舊格新詞寫詩史」的代表，也呈現「詩史」在理、事、情等表現上的現代質素與古典繼承。第四章為「漢詩中的和戰話語：作為對照的日本戰爭」。試圖以第三章相同時間區段的日本漢詩為對象，拓展「詩史」的討論。日本自甲午戰爭始，有一「戰爭漢詩」的書寫傳統，頗欲有以文體匡扶國體，以文學建構歷史的詩學思想。其以「詩史」頌揚皇統，更是日本漢詩壇對「詩史」的接受與實踐。本章企圖通過日本二戰期間的「戰爭漢詩」和「同盟漢詩」之對照，凸顯戰爭情境裡「詩史」書寫的建構性。特別聚焦文學報國會編纂的《大東亞戰詩》與鹽谷溫的《大東亞戰役詩史》，分析二者的書寫意圖與文學表現中「史蘊詩心」的面向。此章希望能與第三章「抗戰詩歌」的討論形成對照。第五章為「報刊中的詩史虛實──以九一八事變到抗戰期間國難吟詠為例」。試圖以近代報刊流播的戰爭事件相關「詩史」吟詠為討論住軸，指出此類詩歌雖多被視為「紀實」之筆，但中間資訊往往雜揉虛構與褒貶意圖，且有積極的政治意圖在其中。本章希望通過「事件」如何呈現，和「假新聞」、書寫的「真實效應」等概念，反省「詩史」的書寫機制。包括詩史欲「以虛鑿實」產生的「史蘊詩心」問題，以及「春秋褒貶」到「訕謗直訐」的倫理規範問題，最後逼顯出「詩史」與其繼承的文學傳統、詩學傳統，在近現代的影響與實踐。綜上所述，本文不斷試圖以「詩歌」和「歷史」間的往復辯證為主軸，以此呈顯晚清近代「詩史」觀念的遞變與書寫實踐。期能以此研究深化並拓展這個古典詩學觀念的現代視野。從「詩心」和「史識」等兩大主題中，剖析「詩史」觀念蘊含文史本質辯證，以及學術典範變遷。

關鍵字

詩史；近現代；舊體詩；二十世紀文學；戰爭書寫

並列摘要

The purpose of this Dissertation is to introduce the classical genre writing tradition “poetized history” (Shi-shi 詩史) and how this genre tradition continued radiating its influence on literary writing after the vernacular movement during 1840–1945. The so-called “archaic Chinese” (文言), mainly the old-style poetry (舊體詩詞) herein, was considered to have disappeared in the history of literature ever since the vernacular movement. As a matter of fact, however, even the “archaic Chinese” was not the mainstream diction on the press, it still held its activeness in terms of reading and writing among the populace during the 1930s and 1940s. The old-style poetry handed down the heritage of Shi-shi within Chinese classical poetry (中國古典. Shi-shi, as a literary concept, took “poets as historians” and vice versa, thus created an ambiguous yet blending space of intertextuality between literature and historical writing. The writing tradition of Shi-shi evoked people’s history-based memories and emotions toward historical events, thereby brings about a profound impact by the use of traditional morality to evaluate current situation. It also created a correlation between historical context and that of the current time, and as a result, collective memories generated by Shi-shi affected the trend of public opinion during 1840–1945. Furthermore, Shi-shi stimulated the public’s unhappiness toward territorial loss and anger against weak national defense with their evaluation of each current event by traditional moral concept. The phenomena of “poets as historians” or “poetized history” also affected China’s diplomatic attitude and war strategy against Japan at that time. This dissertation contains six chapters: The first chapter ‘’Introduction” revealed the background and aims of this dissertation and purposed the theoretical framework of poetry as history. The first chapter is "Introduction", which explains the research background and the topics selected. Why do the "history of poetry" need to be placed in the “transformation era” situation? In modern times, it is necessary to overcome the entanglement caused by the impact of the new and old paradigm shifts, the separation of literature and history disciplines, and the new era of old-style poetry. This chapter attempts to propose several key points to solve the entanglement: first, the study of "history of poetry" should be combined with the examination of academic history, in order to change the concept of "history of poetry" to see the changes of academic paradigms; secondly, theoretical criticism should also consider "writing practice" The theoretical connotation of "history of poetry. The second chapter discusses classic works written by the famous poet Wang kai-yun. The title of the poem is " Yuan-ming-yuan Ci", which is about the Yuan-ming-yuan, a legendary royal garden burned and destroyed in the battle of 1860. This representative case makes us discover that there is a gap between the realistic appeal of poetry and historical facts. The question of how to reproduce "reality" in literature draws a deeper theoretical level of "history of poetry". Whether the writing of poetry contains historical elements or the writing of history itself has the intention of poetry. The third chapter explores the two poetry collections written in the 1940s. They are all those who did not write vernacular poems and still insist on writing classical poetry after a major change called the "poetry revolution." But their work has a completely different innovation from the traditional form in the form of publications and the presentation of poetry and historical information. These two cases are quite representative, which shows that the concept of poetry history not only inherits the traditional thoughts of Chinese poetry in the history of modern and modern literature, but also reflects the obvious changes in the trend of the times. The fourth chapter provides an important comparison object to think about the writing tradition of war poetry. Japan is also deeply influenced by traditional Chinese classical poetry. However, with the conflict between China and Japan, poetry writing has become another kind of war. This chapter presents poetry in response to different policy positions. Sometimes works are used to illustrate the state of peace and alliance between China and Japan. Sometimes it becomes a means of constructing a legitimate excuse for war. But this shows that poetry can be one of the ways to construct a historical perspective. The fifth chapter is to use the poems circulating in the newspaper as the scope of discussion. There is a close connection between the poetic history and the construction of historical memory. Therefore, poetry writing not only has the influence of literary classics, but also forms an invisible manipulation force in social and political aspects.