日治時期櫟社四家詞析論--林癡仙、陳貫、陳懷澄、蔡惠如

許薰文

指導教授 ： 廖振富博士

國立臺灣師範大學/文學院/台灣文化及語言文學研究所/碩士(2008年)

摘要

1895年，對台灣政治命運是決定性的一年。清朝降於日本，將台灣割讓給日本。此舉對於島上傳統文人來說，打擊甚深。面對青雲路斷、傳統斲喪危機以及身分認同上的矛盾，文人們只好寄情於唱酬吟詠，間接促成文人間的集社活動。而在日本官方刻意推波助瀾之下，古典詩社如雨後春筍般林立，雖然人人創社入社的目的與動機各有不同，但是可以感受到的便是日治時期的古典文壇上處處瀰漫著吟詩興味，人人皆熱中投身於詩社活動中。在眾多詩社當中，以中台由霧峰林癡仙倡組的詩社「櫟社」最負盛名，社員們在政治上兼容保守與激進的立場，但對於氣節操守仍有相當的堅持，社員也必須具有一定的漢學素養方能入社。櫟社詩社活動多以「擊鉢吟」、「詩鐘」、「課題詩」等分箋酬唱，然筆者發現文友間亦會選擇「倚聲填詞」，用此類文學體裁表達內心情感與思想，並以之唱和。探討他們的文學作品亦能觀察日治時期傳統文人精神圖像，而從文人所填寫的詞作或可進一步思考這類文體在台灣文壇上所佔的比重與角色為何？傳統文人在詞作創作量上與詩歌有懸殊的比例，詞的填寫格律與表現手法有異於詩，填詞能展現文人何種生命情懷？詩人情性如何以詞展現？這些都是筆者希望能夠探索挖掘的切入點，因此希望能藉櫟社四家的詞作來著手探究。
本論文以「日治時期櫟社四家詞析論－林癡仙、陳貫、陳懷澄、蔡惠如」為題，全文共分八章，以下敘述章節架構及思考進路。
第一章「緒論」，敘述本文研究動機、研究範圍、交代研究材料之來源並回顧相關研究；接著說明本文研究方法與研究過程中所遇到的困難。
第二章「櫟社文人古典詞創作背景」，首先概述台灣詞的發展狀況，推論清領時期以及日治時期台灣古典詞壇未能興盛之原因，並論述台灣詞作的時代特色。接著筆者以所蒐集得來之櫟社文人詞作加以整理歸納，並略作說明，以作為下文討論之基礎。
第三、四、五、六章，分別是「林癡仙詞作探析」、「陳貫詞作探析」、「陳懷澄詞作探析」、「蔡惠如詞作探析」，依照作品多寡之順序，探討櫟社這四位文人所留下之精采詞作。每章先述作家生平，再簡要交代作品來源，而論述重心則是就作品主題內容與藝術形式之探究，綜合以觀，針對文本進行細緻討論是筆者特別著重之處。
第七章「櫟社詞家作品的綜合分析與比較」根據上述討論之詞家以較宏觀的視野來分析與比較這些詞作當中所具有的共同特徵，或可說是集團性之分析；主要分成「對祖國的嚮往之情」、「從隱逸思想到積極入世的多元表現」、「詞作內容馴化之痕並不顯著」來探討櫟社文人詞作呈現出來的集團性內涵，雖然外顯之處可見這幾位文人在出世與入世之間的抉擇擺盪，但是他們仍隱隱然流露出不向殖民政府妥協的堅毅情性；接著分別以作品思想內涵與作品成就來評價這幾家櫟社文人的詞作。
第八章「結論」總結全文，並從結論當中提出在研究過程中所遇到之侷限性與瓶頸以及未來可以繼續深化開發的論題。

關鍵字

櫟社 ； 古典詞 ； 林癡仙 ； 陳貫 ； 陳懷澄 ； 蔡惠如 ； 台灣古典文學

並列摘要

It was 1895 that marked the significant year to Taiwanese people with regard to political destiny. Ching dynasty surrendered to Japan after the war, “the Sino-Japanese War of 1894-1895”, and agreed to yield one of its territories “Taiwan” to Japanese government, which was out of question a huge shock for people even traditional poets living on this island for generations. Facing the cruelty of losing their promising future, crisis of declining of traditions, and inner contradiction of self identities, only when these poets indulged themselves in writing and reciting poetry could they ease their sorrow and sense of loss, which in a matter of course caused the prosperity of the rising of poetic organizations. In addition, Japanese government also urged educated people to establish poetic organizations to show its honor and respect for Taiwanese people, which could also explain why there were a lot of poetic organizations at the time. There were different motives and purposes for people to participate in or establish poetic organizations, and the popularity of poem-writing revealed the fact that the society was filled with the atmosphere of literariness: almost everyone was interested in writing poetry and had a frenzy in joining poetic organizations. Among those poetic organizations, “Li”, established and advocated by Lin Chih-hsien in Taichung, was one of the most well-known and remarkable poetic organization then. Though members in “Li” held different standpoints as for politics and attitudes toward Japanese government—either conservative or radical, basically they put great emphasis on persistent integrity and virtue under the regime of Japanese government. Only with well-educated background and cultivation of sinology could one be permitted to join “Li” poetic organization. It usually held a lot of activities as diverse as “Chi Po Yin”, “Shih Chung”, and “Ke Ti Shih” in springs and autumns.
However, the author tried to explore other aspects in the poets’ literary work and found that they not only wrote poems but also composed poetry in another form of Chinese classical poetry called “Tzu”, which reflects the fact that the poets would also use this literary form to express their thinking and inner side of world. They composed “Tzus” to convey their feelings or some messages to other members and therefore they could communicate with one another in that way. It’s essential to reframe and observe the spiritual world of these poets under the regime of Japanese government by analyzing their work of literature. Their “Tzus” provided us with a general picture on the weight this literary form carried and the role it actually played in Taiwan literary arena during that time. Apparently the number of “Tzus” composed by poets was a lot less than that of poetry, but their existence still couldn’t be ignored while the skills and requirements to compose “Tzus” were relatively different compared with classical poetry. The author tried to figure out how the poets in “Li” express their emotions by composing “Tzus” and relate their work to their dispositions. And that leads the author to focus mainly on four important poets in “Li” and their “Tzus.”
The thesis consists of eight chapters. The first chapter “introduction” illustrates research motivation and range, sources of research materials, reviews of related research documents and the method adopted in this thesis. Besides, the author brings up the difficulties encountered in this study.
Chapter 2 illustrates the background of “Tzu”-composing for poets in “Li”. First of all, the author depicted the development of Taiwan “Tzus” to infer the possibilities and reasons why “Tzu” was not so popular during Ching dynasty and Japanese colonial period. Then the author was devoted to collecting and collating the “Tzus” composed by the poets in “Li” poetic organization in order to build up the base for the following research on the four poets-- Lin Chih-hsien, Chen Kuan, Chen Huai-cheng and Tsai Hui-ju and their work.
Chapter 3, 4, 5 and 6 mainly focus on discussion of “Tzus” composed by Lin Chih-hsien, Chen Kuan, Chen Huai-cheng and Tsai Hui-ju respectively. The author illustrated brief introductions for each poet and then proceded the discussion on their work by sorting the topics and the art forms in their work. The most essential part would be the analysis and interpretation of the “Tzus.”
Chapter 7 illustrates the author’s analysis and comparison of the “Tzus” written by these four poets. The author managed to organize the common literary qualities in their work and then evaluated their “Tzus” from perspectives of their thought, skills, art and accomplishment. We could clearly perceive that the poets basically lived in struggles and contradictions when it came to taking standpoints of dedicating their life to the society or standing aloof from earthly affairs. But one thing is for sure that they still didn’t compromise to the Japanese government and stuck to their principles of integrity tightly and firmly, which is truly admirable.
Chapter 8 concludes the previous chapters and explains the restriction and difficulties with respect to the study on Taiwan “Tzus” and then provides other issues related to “Tzus” which still haven’t been explored, leaving some room to carry on with the deeper and more thorough research on “Tzus” of Taiwanese poets.

並列關鍵字

Li poetic organization ； Tzu ； Lin Chih-hsien ； Chen Kuan ； Chen Huai-cheng ； Tsai Hui-ju ； Taiwanese classical literature

參考文獻

黃秀政，《台灣割讓與乙未抗日運動》，台北：台灣商務印書館，1992年12月。

吳文星，《日據時期臺灣社會領導階層之研究》，台北：正中書局，1992年3月。

林癡仙，《無悶草堂詩存》，台北：台灣銀行經濟研究室，台灣文獻叢刊第72種，1960年2月。

連雅堂，《劍花室詩集‧寧南詩草》，台北：台灣銀行經濟研究室，台灣文獻叢刊第94種，1960年。

連雅堂，《雅堂文集》，台北：台灣銀行經濟研究室，台灣文獻叢刊第208種，1964年。