革命．通俗．主體：論方言文學運動與《蝦球傳》

Revolution, Popularization and Subjectivity: A Discussion of Dialect Literature Movement and The Story of Shrimp-ball

抗日戰爭的炮聲剛落，國共兩黨的角力隨即展開，中共中央在內戰正式爆發前，已派員到香港設立文化和宣傳機構。1947年起，大批左翼文人因為政局動蕩南來香港，使當地的文壇突然活躍起來，方言文學運動是當時其中一項重要的文學活動。左派作家和批評家意圖在香港繼續三十年代以來的文藝大眾化，探討方言文藝如何進一步號召廣東農村的群眾，與此同時，又不忘回應香港的現實，渴望在流行小說市場中爭奪市民讀者。這使當時滯港的左派文人在宣傳政治意識形態的同時，又要考慮本地民眾的趣味。黃谷柳的《蝦球傳》被視為方言文學運動中較成功的作品，不但在當時廣受歡迎，小說中運用大量粵語詞彙，地方色彩濃厚，也一直為人稱道。但是，本文的研究指出，《蝦球傳》在當時的生產和接受過程，充份表現革命和通俗的張力：小說以情節和地方色彩爭取本地市民讀者的愛戴，卻因其非階級性和人道主義思想被批評違反革命文藝路線。在當時香港的左派文壇領袖看來，《蝦球傳》的情節過於戲劇性，人物缺乏階級性。箇中原因，一方面是當時黃谷柳的文學觀繼承五四新文學傳統多於左翼革命文藝傳統，和主流左派的文藝觀不無縫隙；另一方面，香港這個殖民城市的特殊語境，制約左派文人的寫作和宣傳策略，使他們面對在廣東農村沒有遭遇到的兩難處境。 Before the formal start of civil war, struggle between Kuomintang and Communist Party was began in Hong Kong when leftists came to the city for preparation of ideological propaganda. In 1947, more leftist fled to Hong Kong and initiate a series of cultural and literary activities. Dialect Literature Movement (DLM) was the most representative one. The involved leftists aimed at continuing ＂Popularization of Arts and Literature＂ in Hong Kong. Although workers and farmers in Guangdong were their imaginary readers and audience, they could not neglect local citizens who were their actual readers and audience. To maintain survival of cultural business and to explore writing resource, leftist editors and writers had to consider the need of citizens whose interests were very different from general mass in rural Guangdong. The Story of Shrimp-ball, the famous novel written by Huang Gu-liu, was regarded as most successful works produced in DLM. However, this paper points out that the writing strategy and production process of the novel demonstrated server tension between revolution and entertainment. Although the novel was warmly welcomed by common readers, it was blamed by some leftist critics because of its ＂non-class＂ and ＂Humanitarian＂ nature. From the viewpoints of orthodoxic leftists, the plot of The Story of Shrimp-ball is too dramatic and could not reach the goal of Popularization. As a marginal leftist in late 1940s, Huang Gu-liu's literary views inherited May-fourth literature rather than leftist literature. In addition, the unique context of colonial urban Hong Kong, although provided freedom for leftists in a certain extent, but also constrained their considerations which put themselves into inevitable dilemma.