跨語經驗下的「民族」、「東洋」與「世界」：試論龍瑛宗的杜甫書寫

Nation, Tōyō, and the World in Translingual Experience: Long Ying-Zong's Writings on Du Fu

龍瑛宗（1911-1999）由日語創作蜚聲於日據末期的台灣文壇，光復後遲至1980年才以〈杜甫在長安〉完成第一篇中文小說，貫穿兩個時期的杜甫形象被學界認為是其「望鄉之情」的具象化表達。然而，從〈杜甫在長安〉翻譯、拼貼、改寫日本東洋史文獻的創作方式，回溯1940年的日語詩〈杜甫之夜〉及其1979年自譯的中文版，跨語經驗在龍瑛宗的杜甫接受和杜甫書寫中的分量不容忽視。透過近現代日本這一中介，尤其是名為「東洋」的轉譯機制，他的「落葉歸根」實是「曲折的還鄉」，更蘊含著對於「世界文學」的理解與期待，在東亞殖民歷史和戰後兩岸分斷語境下呈現出文化民族主義經驗的複雜性。

Long Ying-Zong (1911-1999), a writer acclaimed in Japanese-colonial Taiwan literary circles for his Japanese works, published his first Chinese novel Du Fu in Chang'an (1980) decades after Taiwan's retrocession. The enduring image of Du Fu across his Japanese and Chinese writings is seen as embodying his ''homeland longing.'' Yet Du Fu in Chang'an―with its translated, collaged fragments from Japanese works of ''Tōyōshi'' (東洋史)—alongside his Japanese poem A Night with Du Fu (1940) and its Chinese self-translated version (1979), highlights translingual dynamics in his writings. Mediated through modern Japan's ''Tōyō'' discourse, the longing for ''roots and return'' becomes twisted, reflecting both his vision of ''world literature'' and the complexities of his cultural nationalism through Japanese colonial history and postwar cross-strait divides.