終戰前張達修海內外地景書寫中的遺民感興

Loyalist Zhang Da-Xiou's panoramic poetry of sentiment and lament in times before the end of World War II

李知灝(Chi-Hao Li)

地景書寫 ； 遺民 ； 認同 ； 地方 ； 臺灣古典詩 ； 張達修 ； Loyalist consciousness ； panoramic poetry ； local ； Zhang Da-Xiou ； Taiwan classical poetry ； Identity

海洋文化學刊

18期（2015 / 06 / 01）

111 - 132

繁體中文

張達修（1906-1983）是跨越日治與戰後的臺灣著名詩人，雖未親歷清廷統治與乙未割臺，卻在詩作中以「遺民」自居。這是由於他在成長過程中，臺灣地方的漢文化氛圍再加上部分臺灣地景所被賦與的歷史價值所造成的「後遺民」現象。透過對臺灣、日本地景的觀覽與詮釋，張達修更加確認自己「漢文化」遺民的身份，並且是與「異文化」的日本殖民政權處在對抗的狀態之下。在日治後期，張達修終於藉工作的機會前往他想像的文化母國中國，但是在上海卻無法讓自身的漢文化想像得到充分的滿足。縱使對文化母國的中國有所懷想，但內心對文明的價值判準卻已是融合了在臺灣、日本的生活經驗。相較於在臺、日的現代秩序，上海顯然成了失序的一端。想像與實際的落差，讓張達修內心浮現失落感。相較之下，在江浙其他地區的遊歷中，張達修似乎找到想像中的漢文化氛圍。但也體認到時代的變遷下，自身認同的漢文化似已成為過往。透過終戰前渡海往來於臺灣、日本、中國所創作的地景書寫，呈顯出張達修將自己視為漢文化的遺民，在殖民情境下不斷追索過去漢文化的蹤跡，同時卻又感嘆漢文化已不復過往的矛盾心緒，直到1945 年日本戰敗投降。

Although he did not witness the rule of the Qing Dynasty or its surrender of Taiwan in 1895 to Japan, Zhang Da-Xiou (1906-1983) stands out as a celebrated Taiwanese poet who lived through the Japanese colonial period and World War II while referring to himself as a loyalist in his poetry. This sentimentality can be traced to the cultural heritage of local Chinese in Taiwan and the historical Chinese attributes he gave to particular landscapes in Taiwan during his youth. Zhang viewed Taiwanese and Japanese landscapes through Chinese lenses to confirm his identity as a loyalist of Chinese culture and not to the ＂other culture＂ of the Japanese colonial regime. Finally, at the end of the Japanese colonial period, Zhang's work provided him the opportunity to visit China, his imagined cultural motherland. However, Shanghai was not the Chinese mecca that he had imagined. Despite the nostalgia he felt toward his motherland, it lacked the values of civilization on culture found in Taiwan and Japan that he had built his premise upon. Compared with the modernized order of Taiwan and Japan, Shanghai was evidently in disorder; such a disparity between Zhang's projections and reality elicited a sense of lament in Zhang. However, Zhang seemed to have discovered the Chinese culture that he had been imagining during his tour of Jiangsu and Zhejiang Provinces. He also came to realize that changing times had condemned to the past the kind of Chinese culture he had so strongly idealized. Zhang's panoramic poetry was based on his travel experiences in Taiwan, Japan, and China before the end of World War II and reveals a mind torn by contradictions prior to Japanese surrender in 1945. Although he regarded himself to be a loyalist of Chinese culture and continually reflected on it under colonial rule, he was later to lament that Chinese culture was no longer what it had been.

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