呂赫若〈清秋〉論

The Study of Lu He-ruo Qing Qiu

本文所探討的作品，是於呂赫若（1914—1951？）的創作中被讚譽為最高傑作的〈清秋〉。這篇作品是為了呂赫若的個人作品集〈清秋〉而撰寫的中篇小說，並收錄在該作品集之中。該作品集所出版的時間是1944年3月，然而根據呂赫若日記的記載，實際進行執筆的時間應在1943年8月前後。在這段期間，呂赫若除了感受到時局變化的外在緊張之外，也飽受以西川滿為首的文學界對他的嚴厲批評，其寫作狀況陷入困境。在如此狀況之下，呂赫若決心回到原點，追求美的事物，並試著呈現出於戰爭期間台灣知識份子所應走的道路。本文首先指出，在這篇小說中呂赫若所採用的框架，並非是日本帝國對包含殖民地在內的國民所大力宣傳的「父（天皇）—子（國民）」模式，而是採用具有血緣關餘的「祖父—孫子」為人物設定的框架。其次，筆者探討在該創作中相當重要的三個空間「故鄉／都市／南方」分別在文本中具有何種作用。最後透過上述的分析與探討，闡明〈清秋〉這篇小說所欲表現的，是對於日本帝國的戰爭行為所提出的異議。

This paper mainly focues on the middle novel Qing Qiu (清秋), that has been called Lu He-ruo' s (呂赫若，1914-1951?) best work. This work was written for his own collected works, Qing Qiu. The book was printed in March of 1944, but through his diary we can find the actual writing period was in August of 1943. In this period, Lu He-ruo was distressed by double stresses, one was the wartime situation, and the other criticism from the Taiwan literary world that gathered around a Japanese writer Nishikawa Mitsuru (1908-). In this situation, Lu He-ruo decided to pursue spiritual beauty, go back to his own origins, and show the way which Taiwan intellectuals must go during the wartime. In this paper, firstly I point out that the framework of this novel uses one of blood relationship ‘grandfather-grandchild’, not the ‘father (emperor)-child (emperor subject)' that was forced upon Taiwan by the Japanese Empire. Secondly, I discuss the meaning of three toposes in this text-a local area, an urban area, and the South. And through this analysis, I prove that the intent of Qing Qiu was to make a protest against the war acts of the Japanese empire.