抒情的兩種政治──陳世驤與保釣運動

Two Kinds of Lyrical Politics: Chen Shih-Hsiang and the Baodiao Movement

追索陳世驤1971年正式提出抒情傳統的背景，適逢保釣運動的巔峰。其所在加州大學柏克萊分校正是釣運左翼重鎮，陳世驤身為柏克萊保釣作家劉大任、郭松棻和李渝等人的老師，負責調停學生與國民黨政府間的衝突。以保釣為問題意識，重探陳世驤對抒情話語的倡議及其身殉，未嘗不可理解為「抒情」與「革命」（紅色抒情）在七○年代海外語境下的辯證：如果反共是離散一代知識分子的課題，北美釣運左傾潮流則對此一認同狀態構成挑戰。這使得抒情傳統的提出時機，提供了極具象徵意義的歷史暗示─透過「創造抒情」，構成「超越革命」的呼召。
唯在革命的美學範式中，其從前現代中國孵育的抒情想像，被視為右翼反動語言來理解。陳世驤在報端的公開表態，更使之淪為釣運左翼的攻訐對象。從拜師到叛師，成就了革命，也埋下後半生的漫長追悔。爰此，柏克萊保釣作家在後期的文學書寫中對陳世驤形象的再現，與他們對運動的省思互為表裡。當他們書寫陳世驤，其實（未必自覺地）以抒情作為方法，解構昔年的革命神話，藉由對抒情的兩種政治之重省與應答，為恩師完成遲來的平反。

Examining Chen Shih-Hsiang’s陳世驤(1912-1971) role in the“Baodiao Movement”保釣運動enables us to observe the multiple entanglements and dialectics among the issues of“lyricism”and“revolution”(“red lyricism”紅色抒情). Chen proposed a lyrical tradition in 1971, which was at the peak of the Baodiao Movement, and meanwhile, he was engaged in mediating conflicts between left-wing students and the Kuomintang government. Chen’s interactions with Kuo Sung-Fen郭松棻(1938-2005) and Liu Daren劉大任(1939-), who were not only his students but also movement leaders, had a direct impact on the movement. Chen, like other diaspora intellectuals growing up in the 1930s and 1940s, was an“anti-communist”; yet his political identity was challenged by the leftist ideology of the Baodiao Movement. From this perspective, Chen’s“creation of lyricism”in the 1970s inadvertently constituted a call to“transcend the revolution,”which conflicted with the connotation of the“obsession with China,”another kind of lyrical politics adhered to by his students. Because of his deep connection with revolutionary ethics, Chen’s figure is also reflected in the literary writings of the Baodiao Movement, as another lyrical technique to vindicate his sacrifice.