「變」與「辨」在「古今」問題上的理論視角及其意義

本論文旨在辨析在文學論述中古今之變此一問題所展示的「變」與「辨」的理論視角，藉以闡明現代詩在歷史發展過程中「轉變」可能體現的方式與型態。究實而論所謂的「轉變」，則現代白話詩轉變的過程，除了在形式問題上直接展現語言型態上古與今的差異之外，更有創作理念與創作主題上視角的轉換，而後者即是本論文試圖辨析的重點。中國古典詩歌的發展，在晚清時期開始標示「白話」體式的討論，這代表著在書寫形式上所以轉變的主要關鍵，然而，真正出現「詩界革命」的精神與內涵，就可能等到魯迅倡議「摩羅詩力」的主張，才得以落實並且有進一步的發展與改變。「摩羅詩力」說的影響及其實踐，擴增了傳統詩歌抒情性既有的表現特徵與旨趣，這在近現代中國的白話詩壇上自有其主要的發展輪廓可以追索；至於現代詩在臺灣的發展軌跡中，則詩歌形式上的轉換，即因為延續了白話既定的語用型態而有著不同、乃至於更新的論辯，這也是另一段對於詩歌形式的擴展與深化的過程。至於在創作理念與主題上的擴充或轉換，則因為當時政治社會情勢的條件限制，魯迅等近代作家的相關著作受到查禁，可以做為模仿參照的材料似乎明顯斷了線，陷入真空的狀態，有待補足。就本論文的題旨而言，從魯迅倡議的「摩羅詩力」說之後，現代詩在創作理念與創作主題的實踐上，其實更重要是透過一些翻譯作品的引介而取得養料，因此，在二十世紀六十年代的臺灣，現代文學的發展就是透過翻譯的論著，才得以展現更為清晰的議題及其想像，其中，徐復觀翻譯日本萩原朔太郎的《詩的原理》（1956）、姚一葦譯註亞里斯多德的《詩學》（1966）以及杜國清翻譯日本西脇順三郎的《詩學》（1969），這些為當時的閱讀者所熟悉的著作即是可能但還沒有被追認的無形的推力。當然，以今天的眼光來看，現代詩發展過程中所謂視角的轉換及其成果，劉正忠《現代漢詩的魔怪書寫》一書的出版後，始得完整的勾勒與鋪展，讓我們可以在現代詩在形式的摸索與鍛鍊之外，清楚掌握到創作理念與主題上的擴充或轉換。本論文的目的，即在於透過徐復觀與杜國清兩部譯作的出現，追索並闡明在現代詩所謂的魔怪書寫型態的發展中，在感受與想像層面上所可能接納的想像與思想論述的來源，終而完成此一階段所謂「變」的具體內容。同時，本論文也試圖指出在現當代文學創作與批評的活動中，對於「反諷」概念的接納與理解，可能是詩歌理念與表現圖景在此一變化、發展過程中尚未完全清楚的段落，更是有待開展的一個面向。

關鍵字

徐復觀；杜國清；摩羅詩力；魔怪書寫；反諷

並列摘要

This article aims to explore the theoretical implications concerning the ＂Quarrels between the Ancients and Moderns＂ in terms of the literary evolution from Lu Hsun's proposition of ＂Maraic＂ poetic force/act to that of Liu Cheng-chung's ＂demonic poetry＂. In view of the historical development in the formation of modern Chinese bai-hua poetry and contemporary Taiwanese han-shih, though each emerged against its own social and intellectual background, they both recorded the shifts and displacements of sensibilities that occurred during their own milieu, and hence within different ethos. In Lu Hsun's case, when facing the decaying cultural and moral order of his age, the call for the ＂Maraic poetic force＂, as a defiant assertion, meant to recommend a defiance and resistance to all accepted organs of literary and cultural intercommunication. By comparison, the demonic manner of poetic writing emerged and evolved in contemporary Taiwan's literary scene had taken a different tour. During the period of the Sixties and Seventies in the Twentieth Century Taiwan, most writers as well as public readers sought after European and Japanese literary and philosophical writings for their fresh ideas and inspiration. I therefore propose to examine the influence that might contribute to the formation of sensibilities which in turn made contemporary Taiwanese han poetry possible. This article then draws two cases under examination, that is, Hsu Fu-kuan's translation in 1956 of Sakutaro Hagiwara (1886-1942)'s The Principle of Poetry (1928) and Tu Kuo-ching's translation in1969 of Nishiwaki Junzaburo (1894-1982)'s Poetics (1968), which might have exerted their influence upon the reception and production of specific literary texts in contemporary Taiwan. My point is that whereas Hsu Fu-kuan's translation focuses on the analytical thinking and method concerning poetic concept, Tu Kuo-ching's translation emphasizes the modernist poetic theories developed since Baudelaire. The introduction and reception of these two translations witnessed the transformation of modern Chinese bai-hua poetry into contemporary Taiwanese han-shih.