日本「俚謠正調」在日治時期臺灣的發展──宮川保之、《大和短詩》及其周邊研究

日治時代的臺灣到底是什麼樣的面貌呢？如果我們能夠透過當時臺、日雙方作家的小說、詩集作品，來掌握相關歷史及社會概況書寫，相信可以得到一定程度的體會與認知。由於歷來臺籍作家的創作，資料完整而易找，故研究者較多；反之，在臺灣的日人以日文書寫的作品，則常被忽視。時至今日，如果能夠予以翻譯並進行研究，當可協助吾人掌握日人描述臺灣人事地物，看待臺灣漢人、原住民的情形，將會大大提升吾人更加全面理解日治時代！不過，若要了解日治時期在臺日人書寫狀況，就須了解明治維新是日本古典文學和近代文學的分岐點。明治初期，日本政治想和歐美先進國家看齊而積極歐化，當時有許多翻譯和政治小說出現，尤其是1887年時任報社主筆的黑岩周六（號黑岩淚香），持續發表許多翻譯改編小說，扮演了日本近代文學的外圍推手角色。然而，因為1904年日俄戰爭發生，11月時，黑岩周六選擇在《萬朝報》徵募「俚謠正調」，他認為日本俚謠「都都一」，可吟詠天地之美及人情之妙，卻淪於卑鄙不足取，因此鼓勵恢復原有正調來因應戰爭和國難，他的提倡迴響很大。日後，在臺灣開闢「大和短詩」欄承繼「俚謠正調」的宮川保之（號野草庵一水）也是當時《萬朝報》「俚謠正調」欄的投稿者之一。日本領臺初期，殖民者為了符應統治需要，文壇上是以漢詩為主流，但隨著政權逐步穩定，日人來臺漸多，在臺日人便逐步將日本淵源悠久的「和歌」、「俳句」帶進在臺的日人文學場域裡，其中頗值得一提的就是上承「俚謠正調」的薪火相傳者，即宮川保之。他創立「大和短詩」會和主編三集《大和短詩》，使平民文學「俚謠正調」在臺發光發熱，並帶來模仿風潮，進而下啟「若草會」和《若草》雜誌，又間接促成「若草會」成員和日本內地「新民謠」成員的交流切磋機會。本文因此針對宮川保之的個人生平與來臺事蹟進行研究，指出過去學界的若干錯誤，另又討論宮川保之在臺灣報刊上開闢「大和短詩」欄的角色與影響意義，勾勒出日本「俚謠正調」在日治時代臺灣的發展梗概；此外，文中也對《大和短詩》三集內容的題材內容和創作表現加以剖析，特別說明了其中存在著對臺灣原住民的凝視，以及「由臺灣迴向內地」、「由內地迴向臺灣」書寫視域的變化，從中可以感受到「俚謠正調」由日本傳到臺灣的在地化色彩。

關鍵字

俚謠正調；宮川保之；《大和短詩》；黑岩周六；臺灣原住民

並列摘要

To date the concentration of research has been focused on native Taiwanese authors living in colonial Taiwan under Japanese rule, whose works were written in Chinese, thereby making them more prevalent, widely distributed, and easily accessible. In comparison, relatively fewer works by and in Japanese have been uncovered, translated, and studied. My dissertation addresses the question – “Can literary works written in and by Japanese living in Taiwan during colonial times provide another perspective and lead to a deeper appreciation of the cultural, political, and societal complexities between and among Taiwan’s Japanese, Chinese, and Aboriginals populations?” I argue that the Japanese literary community living in Taiwan during colonial times often reflected the thoughts of how mainstream Japanese viewed the Chinese and Aboriginal communities. The wave of enthusiasm for a new literary movement among ethnic Japanese living in Taiwan was ushered in by Miyakawa Yasuyuki, an writer. While in Japan, Miyakawa Yasuyuki was greatly influenced by Kuroiwa Syuuroku, who changed the typical topics of the dodoitsu (a poetic style of writing with 26 syllables in a 7-7-7-5 pattern) style in Ri You Sei Chou. When Miyakaya Yasuyuki later arrived in Taiwan, he continued to promote Ri You Sei Chou by editing “Yamato Tanshi,” an anthology of works by new and local authors. I argue this new burgeoning literary movement in Taiwan contributed to the overall flourishment of the Ri You Sei Chou style.