交流與互動——民國詞與日治臺灣報刊研究

本文以日治時期臺灣報刊所轉載的晚清民初詞作為範疇，透過當時複雜的時代背景，除去政治層面的討論，僅觀看兩岸這個時期的交流與互動。由此可以發現這樣的關係，對於臺灣詞壇的成長有所助益，同時也見得詞人間的情誼，甚至透過轉載之舉，窺得晚清民初的文學樣貌。在「清領至日治時期臺灣詞壇的發展」一章中，本文說明了清領時期的臺灣以寫詩為主流，詩社林立、交遊甚多，並不重視詞體的創作。詞體不是科舉考試科目，又被文人視為小道，遊宦文人也不特意推動填學風氣，臺人著力於詞學的外力已失。對內則韻書、詞譜、詞話較為缺乏，文人之間也少有詞鈔或詞集，互動與保存實為困難，只少量留存幾位大家之手。直至日治時期，報業興盛，臺灣報刊的出現，並從中國報刊轉載民國詞作之舉，成為詞壇發展的助力。其中，與中國詞壇之間互動的對象，也從閩地的遊宦文人，大部分移轉至江浙地區的詞人，更以南社、虞社為主，還有汪精衛政權下的文人，三者關係彼此有重疊，透過轉載這些民國詞作，豐富了日治臺灣詞壇。在「兩岸詞人、文學集團與報刊的交流」一章，以「民國詞人、臺灣文人、兩岸報刊編輯群」三個主體，觀看他們的互動，與所流露的情誼。在日治臺灣報刊轉載的民國詞作中，民國詞人彼此透過「離別贈答、應酬唱和、題畫記情」三種方式，來傳達詞人之間的情感，以詞聊表心意，也唱和詞作來切磋詞藝，更經由歌詠詞人所藏、所繪的畫作，表現詞人之間的遊戲與應酬。與臺灣文人的互動，主要則以三位往返中臺兩地，並影響兩岸交流的文人談起，如李友泉原籍江蘇、定居稻江，促進虞社和瀛社的交流；蔡伯毅交遊應酬甚廣，足以成《嚶鳴集》一冊，尤其以南社為多；王少濤兩岸贈答之作，因工作緣故，以廈門為主，更有與瀛社謝雪漁和南京政權有互動。而探究民國文人與臺灣文學集團、報刊的交流，分為四個活躍度高的互動，一是南京政權與《風月報》編輯群的關係，二是中國報刊與《臺灣文藝叢誌》，三是與中國南社與《臺灣詩薈》的交流，四是菽莊吟社與臺灣報刊的互動，由此可以宏觀看到中國與臺灣報刊之間更緊密的關係。最後，綜觀「民國詞的文學樣貌與內容意涵」一章，可以更清楚知道臺灣報刊的選詞眼光，從轉載「述懷詞、記遊詞、詠物詞、閨情詞、季節詞、節慶詞」等類型的詞作，來抒發當時民國詞人的心聲。他們以述懷的方式，表示當時政局國事帶來的愁緒與感慨，多感嘆家國之憂與離亂的身世；詞人記錄出遊賞景之事，也不是表露閒情雅致，多是見著景物而興起悲傷；賦物之作則兼具細膩的描摹與情感的寄託，在詠物詞裡吐露亡國戰亂的哀音；閨情詞除了男性代言閨思，添入閨秀詞作，可見民國時期的男性女性對於閨情詞背後所表述的不同意義；季節與節慶主題的作品，總被時間的更迭、團圓與離別所觸動，引發詞人複雜的思緒。這些多樣而豐富的詞作樣貌和背後的意涵，是為本章的側重點，能夠更加了解民國詞作與詞人想法。透過全文的分析與討論，可以得知詞體雖然處於複雜的政治背景下，卻沒有受到局限，反而以報刊為媒介，與民國文學集團有所交流，使得臺灣詞壇的發展，從清領時期走向日治時期更加穩定，互動對象也從閩地移轉至江浙地區。更仔細觀看這些轉載而來的詞作，能夠見得兩岸詞人間的情誼，以及民國詞人對於所處時代的真實感受，甚至使臺人能夠觀摩精彩多元的題材與詞藝，這些皆是兩岸交流與互動中不可或缺的珍貴。

關鍵字

民國詞；日治臺灣報刊；南社；虞社；汪精衛政權

並列摘要

This dissertation focused on researching ci poetry(詞) of late Qing Dynasty and Early Republic of China (R.O.C.),which were reprinted on Taiwanese newspapers and periodicals, and observing the interactions between Taiwan and China’s literati during this certain period. In chapter II, this article explains that poetry writing had become mainstream during the Qing Dynasty. In contrast to poetry clubs, there were less ci clubs emerging during this period. Ci poetry was neither a subject of the imperial examination, nor a main fashion valued among literati. Thus, ci poetry could barely spread and be preserved, only few famous ci poets’ works could still be seen today. Until the Japanese colonial period, more and more newspapers and periodicals were emerging in Taiwan. Reprinted ci poetry from Chinese Newspaper also boosted the development of ci poetry in this period. The literati whom Taiwan’s poets’ mostly interacted with had shifted from Fujian (福建) area to Jiangsu(江蘇) and Zhejiang(浙江) areas, especially those from Nanshe(南社) and Yushe(虞社). Furthermore, Taiwan’s poets also interacted with literati ruled by Wang, Jing-wei(汪精衛). Those complex and intricate relationships had enriched the poetic community of ci during the Japanese colonial period. In chapter III, the article focuses on the interaction between three main groups, ci poets of R.O.C., Taiwanese literati, and editors from Taiwan and China’s newspapers and periodicals. The ci poetry reprinted in Taiwanese newspapers and periodicals of Japanese colonial period showed that ci poets usually conveyed their feelings and compared skills by exchanging ci, writing responsory ci, and inscripting ci. In regards to Taiwanese literati, I focused on Li You-Quan(李友泉), Cai Bo-yi(蔡伯毅), and Wang Shau-tau(王少濤), who frequently travelled between Taiwan and China, and had significant impact on the interaction of ci poets. In the final part of this chapter, I will deep dive into the relationship between China and Taiwan’s newspapers and periodicals groups. There are four highly active interactions: (1) between Nanjing regime and Fong Yue (風月報) editorial group, (2) between China Newspapers and Taiwan Literary Journal (臺灣文藝叢誌), (3) between China Nanshe(南社) and Taiwan Shih Huei(臺灣詩薈), (4) between Shuzhuang Poetry Society(菽莊吟社) and Taiwan Newspapers. Through the discussions above, we can understand more thoroughly about the closer relationship between Chinese and Taiwanese newspapers and periodicals. In chapter IV, we can observe the mainstream style among the editor groups of Taiwanese newspapers and periodicals. The editor groups tended to express people’s thoughts by reprinting corresponding ci. In shu-huai ci(述懷詞), ci poets expressed their melancholy and emotion brought by the political situation at that time, and conveyed the worries of their family and country. In ji-you ci (記遊詞), ci poets recorded their travel experience, instead of expressing the joy of exploring, they expressed their sadness through their wording. In yong-wu ci (詠物詞), ci poets both delicately described the objects they saw and embedded their disappointment, related to endless wars and society chaos, into their work. In gui-qing ci (閨情詞), besides character representation ci poetry, it was also involved women’s voices expressed by women themselves. Poets usually presented their complex emotions, like the happiness of gathering and the sadness of separating with friends, through ci related to seasons and festivals. These multiple and abundant meanings of ci poetry are focal points in this chapter. Through the analysis and discussion above, I summarize that although it was developed under a complicated political background, ci poetry was not limited by any force. Furthermore, those newspapers and periodicals became platforms for literary groups to communicate, and undoubtedly stabilized the developing process of the community of ci from Qing Dynasty to Japanese colonial period. Through the ci poetry, I am able to find out the friendship of the poets between China and Taiwan, and poets’ feelings.