雛構新詩文體語言——賴和新詩手稿中的意象經營與修辭意識

Initial Construction of New Poetry Language:Lai Ho’s Management of Image and Rhetoric Sense in the Manuscript ofNew Poetry

賴和是1920年代台灣新詩發展過程中的領袖人物，這不只是在白話詩發展伊始階段，他便創作出足以預視白話詩可能規模的經典作品，同時，也因為他擔任了《臺灣民報》、《臺灣新民報》文藝欄與學藝欄的主編。日據時期台灣文學的傳播以報刊雜誌為主力，報紙文（學）藝欄對文壇的影響力極為強大。作為兩報刊文藝守門人的賴和，其對來稿刪省修潤兼而有之，在這語言物件的細膩調動過程中，新文學文體美學亦緩慢雛構成形。因此探述兼具詩人與報紙文藝欄編輯的賴和其修辭意識，本身也在描繪1920年代台灣新詩文體美學典律的生成脈絡。因此本文將細探賴和手稿中「原稿—修改稿—定稿」的修辭歷程，討論分為兩個層次：首先，以傳統論述賴和所注重之反殖民、關懷弱勢之現實性詩作為討論對象，以其手稿版本進行分析，檢視過往論述所未能呈現之賴和內在文體書寫策略。其次，則以傳統論述賴和時所往往忽視其帶現代主義氣息的作品進行討論，檢視以白話寫作詩歌時便自然潛存的現代主義語言潛力，以及賴和對之的修辭態度如何影響了後來新詩文體語言的走向。

Lai Ho was the leading figure in the development of new poetry inTaiwan in 1920s during which vernacular Chinese used in poetry was inthe initial stage of development. He created very classical works whichcould foresee the possible scope of vernacular poems. At the same time,he was the chief editor of literature and art column, and study and artcolumn in Taiwanese People’s Newspaper and New Taiwanese People’sNewspaper. Newspapers and magazines were the two major media ofTaiwanese literature during Japanese colonial period and the column ofliterature (study) and art had significant influence on the literature circle.Lai Ho, as the assessor of literature and art for the two newspapers, hadrevised and polished those scripts. In the procedure of his delicate andcareful adjustment, the aesthetics of style of new literature formed its shapegradually. Therefore, the discussion of the rhetoric sense of Lai Ho who werea poet and an editor of literature and art column of the major newspapersalso depicts the sequence of development of the canon of the aesthetics ofthe new poetry style in Taiwan in 1920s.In terms of the above-mentioned, this article has taken Lai Ho’smanuscript of new poetry as research material to view the image establishing and rhetoric sense in Lai’s new poetry manuscript by the systematic analysisof rhetoric. Lai Ho very often differentiated the originals, the adjustments,and final scripts by the Chinese writing brush and writing symbols in hismanuscript. His notes written on the top of the paper were particularremarkable to best present his strategies on the presentation in the writingand his imagination of modern writing style. This article is therefore goingto look into details in Lai’s manuscript of the rhetoric procedure as “originaladjusted-final”. The detailed discussion will be split into two parts. The firstpart has taken Lai’s poems which he focused on anti-colonialism and caringfor the minorities as the main body in the discussion, and analyzed hismanuscript to view Lai’s writing approaches which the past discussions failedto bring up. Secondly, discussion will move to Lai’s works with moderniststyle which were often ignored in the past discussion to view naturallyexisting potential of modernism language in the poetry creation by vernacularChinese as well as how Lai’s rhetoric point influenced the later trend of thenew poetry style and language.