化用與改寫在殖民地漢文的操作－楊華新詩作品再探

Transformation and Adaptation in Colonial Literature Written in Chinese: Revisiting Yang Hua's Works in New Poetry

許俊雅(HSU Chun-Ya)

楊華 ； 小詩 ； 殖民地文學 ； 化用 ； 改寫 ； Yang Hua ； little poetry ； colonial literature ； transformation ； adaptation

中國現代文學

45期（2024 / 06 / 20）

5 - 32

繁體中文;英文

楊華素有「薄命詩人」之稱，其詩作曾為高中國文課本選為教材，並曾為大學學測試題，在臺灣文學史上是無法忽略的作者。然近年學界對楊華詩作逕以剽竊抄襲視之，對其人及其文學定位不免有相當大的衝擊，因此重新檢視、研究楊華新文學作品實有必要。本文從化用與改寫兩個視角重探楊華的詩歌。首先以胡懷琛《小詩研究》揭示的現代小詩與古典詩詞的「摘句」改寫，說明楊華深受胡氏「摘句」法及新舊體相互改寫之說的影響，因此其詩從一開始就從古典詩的「摘句」入手。第二，討論楊華除從新舊詩詞改寫外，他如何從現代散文、散文詩、隨筆、小說等不同文類進行改寫，對文本進行再創作，或因創意不足，引發剽竊嫌疑。第三，進一步說明研究者對剽竊抄襲的判定，需全面考察詩人的閱讀經驗，以及其詩法觀念之來由，避免將引用一兩字句改寫的詩，一律視作剽竊。最後略為說明楊華知識經驗與文學閱讀，對殖民地漢文具有的特殊意義，其文本混合中國白話文、臺灣話文，以之建立殖民地臺灣文學與殖民者文學的區隔。本文特意強調透過語言文字傳達個人經驗感受時，因語言文字本身帶有歷史性，前人的語用成例自然被沿襲使用，這本是文學作品常見的現象。今日我們對於楊華詩篇的各種改寫現象，不應忽視他所營造出的詩思、意境、古典精神、美學素養，而簡單的以剽竊抄襲看待楊華的詩。

Yang Hua, also known as the "unfortunately short-lived poet," is an important figure in the history of Taiwan literature, whose poems once featured in high school textbooks and university entrance examinations. Yet recent commentaries have regarded his poetry as no more than products of plagiarism, denigrating its literary status and the reputation of the poet himself. Consequently, it is necessary to reexamine all his works from the perspectives of transformation and adaptation. First, Hu Huai-Chen's Research on Little Poetry frequently borrows partial sentences from classical poetry and mixes them in modern vernacular poems, which explains why Yang Hua's little poetry, under the influence of Hu, contains so many allusions to classical poems. Secondly, Yang's sources of this kind of adaptation go beyond classical poetry, including modern prose, prose poetry, essays, novels, and other genres of literary works; but, due to lack of creative originality, the results easily arouse suspicions of plagiarism. Thirdly, nevertheless, the researcher's judgment has to take into consideration the total reading experience of the poet in question, as well as the conception of how poetry should be written in his own literary criticism, so that we can avoid mistaking a few instances of apparent allusions to classical literature for plagiarism tout court, a defect of research common in contemporary scholarship. Finally, Yang's eclectic style, which mingles vernacular Chinese with Taiwanese dialect, is of special importance to colonial literature written in Chinese, distinguishing Taiwan literature from that of the colonisers. In sum, because of the historicity of language, borrowing from and adaptation of previous linguistic conventions is are phenomena quite common in the conveyance of personal experiences via literature. When we reflect on such instances of transformation in Yang's works in retrospect, we should not ignore the classical spirit and aesthetic value manifested in his poems and interpret his poetry as simply symptomatic of Chinese literary influence, or more vulgarly as merely a bad example of plagiarism.