梁汪和平運動下的賦詩言志 (1938-1948)

Peace Movement: A Discussion on the Classical Poetry of Liang-Wang Et Al. (1938-1948)

劉威志(Wei-Chih Liu)

指導教授 ： 祝平次 ； 王偉勇

國立清華大學/人文社會學院/中國文學系/博士(2017年)

摘要

本論文研究中日戰爭期間，梁鴻志維新政權與汪精衛國民政府治下的詩詞作品；探討處於「戰時主和」的漢奸罵名與悖德情境之下，古典詩詞如何表述的問題；進一步說，考察彼等詩詞與中國詩詞史上各種範式暨情境結構之間的關係，探尋「主和話語」的意義所在，給予梁汪政權詩詞一文學史上的定位。
　　由於「戰時主和」的行為，普遍受到貶抑與不齒，且中日戰爭之際，近代國族主義與傳統夷夏之防已然做成連結，「主和」「低調」，彷若失語。故為有效凸顯並探尋該議題，本論文以三個方法推進論述。
　　首先，考察梁汪政權成立初期，諸人的和平理念、政治話語與其詩詞所涉之典故體系，從中建構一「主和話語的譜系」，作為「主和」的認識論基礎，建立出「主和話語」其來有自，有其理據與體系，絕非無源之水的認知（第一章）。
　　其次，置身淪陷區與偽政權，多數人並不願意讓自己參與這一受到貶抑不齒「主和話語」中；他們既不願意贊附「和平運動」，又無力公開的反抗，故表現出一種游離與超然的姿態；筆者以「淪陷」與「易代」互為參照的角度，指出政權交替之際，遺民文學與淪陷區文學中那些遺世獨立、懷古鄉愁、風花雪月的詩詞風格，其實是同樣情境之下的創作。故主張淪陷區的文學，就是易代之際的遺民文學。以此視角，排除那些不願羽翼和平運動的詩詞作品（第四章）。
　　第三，得前「主和話語」的認識論基礎，與類似佛經判教式的切割後，本論文遂得以站穩腳跟，逐步分析「主和話語」如何因應外在環境的變化，更動其詩詞表現與言說方式，微觀地考察「主和話語」之發展。故得下列三章：一是面對談判對手日人之失信與傲慢，弱勢的汪等在詩詞中如何應對與說服（第二章）；二是太平洋戰爭既起，國際局勢的驟變，從汪諸人如何藉由詩詞唱和的「中國詩用」場域，藉由典故的詮釋與改寫，勸汪精衛更易對日方針（第三章）；三是抗戰勝利，「和平運動」失敗，從汪諸人身陷囹圄；研究諸人的庭訊論辯與獄中詩詞之間的關係，探討「主和話語」的終末之姿（第五章）。本論文五章間之關係如上。
　　若以各章的時間列次，第一章研究和平運動初期的理念、宣傳和平的詩詞、梁鴻志與汪精衛的贈日人詩，討論彼等的主和理念的初衷，對內對外的宣傳策略，與如何塑造所屬政權的正統性之過程。
　　第二章處理1940年11月30日汪日簽約之際，趙尊嶽所作的〈鷓鴣天宮體八首〉。透過研究條約談判的檔案與考索詞作的典故脈絡，分析趙尊嶽如何以詞體與宮體，形塑汪政權與日謀和的自我形象。
　　第三章分兩部分，第一部分，研究從汪諸人如何轉化荊軻自我犧牲的形象，說服國人信任和平運動；第二部分，是珍珠港事變後爆發，任援道、龍榆生、李宣倜以題詠《易水送別圖》為名，透過對「荊軻故事」的再詮釋，勸汪精衛修正對日方針。兩部分互為對照，可見主和話語不但對民眾宣傳，同時也逆向成為對政策之建議。
　　第四章研究汪政權對英美宣戰之後，李宣倜雖仍擔任汪政權要職，其詩詞內容卻明顯從一名和平運動的支持者，轉向以退隱與田園自期的形象。實際上，汪政權成立初期，文人間亦不乏類似表態，但直到汪精衛對英美宣戰之後，李宣倜這類文學表現才大量湧現。本章以「淪陷／易代」作為視角，將彼等排除在主和話語之外，同時也藉由易代之際的遺民文學風格，對淪陷區文學有更深化的定義。
　　第五章分析抗戰勝利之後，從汪諸人在獄中所作詩詞與在漢奸審判之際的庭訊論辯之間的關係。比較制法過程、法理邏輯、法庭論辯，與諸人羈囚之際一系列憤懣、自清與釋懷的心理過程，從中探究和平運動的「主和話語」所呈現的最後模樣。
　　綜上五章，歷時性的呈現古典詩詞在面對戰時求和的委屈情境，與漢奸罵名的絕大壓力之下，各種表現方式與過程。

關鍵字

淪陷區文學 ； 民國舊體詩詞 ； 通敵 ； 汪精衛 ； 梁鴻志 ； 趙尊嶽 ； 龍榆生 ； 李宣倜

並列摘要

The thesis mainly focuses on the classical poetry of Liang Houng-Zhi（梁鴻志） and Wang Jing-Wei（汪精衛） et al. during the Sino-Japanese War, which was written in the enemy occupied area of Southeastern China. It describes how Liang and Wang et al. expressed their classical poetry from the disadvantageous situation of being regarded as immoral and treasonable because of their “peace discourse in wartime（戰時主和論述）.” And further, by comparing the traditional patterns and structures of Chinese classic poetry with their poetry to disclose the meanings of their “peace discourse in wartime,” the thesis intends to value the position of Liang and Wang et al. in the history of Chinese literature.
Because their “peace discourse in wartime” was widely disparaged and despised and contemporary nationalism was connected with the Yi-Xia concept（夷夏觀） during the Sino-Japanese War, the “peace discourse in wartime” and contexts surrounding this topic have been regarded as taboo in China since then. In order to expose and discuss this issue effectively, this thesis is stated in the following three steps:
First, taking into consideration their concept of peace, political discourse, situation, and the allusions adopted in their poetry during the initial period of the Peace Movement, it is essential to construct the genealogy of their peace discourse as the basis of the epistemology to prove that their peace discourse had reference and heritage instead of coming from nowhere. (ch. 1)
Next, having been trapped in the enemy-occupied area ruled by a puppet-regime, most people would be unwilling to get involved in the much disparaged peace discourse. They would not show their support for the Peace Movement, whilst on the other hand, being unable to fight against it. In this situation, they tended to acquire a distant and indifferent attitude toward the status quo. Referring the “enemy-occupied area（淪陷）” and the “dynasty transition（易代）” to each other, I found that “yimin literature（遺民文學）” and the “enemy-occupied area literature（淪陷區文學）” were both created in a similar situation, and so both have an isolated, nostalgic, and romantic poetry style. Therefore, I conclude that the “enemy-occupied area literature” is also “yimin literature.” From this point of view, I have excluded the poetry written by those who didn’t want to resonate with the Peace Movement. (ch. 4)
Thirdly, after knowing what the “peace discourse（主和論述）” is based on and excluding those who disagreed with Peace Movement, we get a foundation to analyze step by step how the peace discourse reacted to changes in the political situation. Therefore, by interpreting their poetic diction, we can observe the development of the peace discourse in a detailed way. The analysis will be discussed in the following chapters. One chapter deals with how the poorly-situated Wangs reacted to the Japanese and how they justified their own conduct in the poetry when they were faced with the dishonest and arrogant Japanese.(ch. 2) Another chapter concerns the outbreak of the Pacific War and how the international situation changed drastically and how Wang’s followers persuaded him to change his strategy toward Japan by interpreting and rewriting classical poetic allusions. (ch. 3) A third chapter discusses how after China won the war, the Peace Movement failed, Wang’s followers were put in prison, and how their poetry in prison related to their debate in court and how they justified themselves through their poetry. This poetry turned out to be the last echoes of the “peace discourse.” (ch. 5)

並列關鍵字

Enemy Occupied Area Literature ； Classical Poetry in the Republic of China ； Collaboration ； Wang Jing Wei ； Liang Hong Zhi ； Zhao Zun Yue ； Long Yu Sheng ； Li Xuan Ti

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