戰後臺灣小說中「將軍書寫」初探

The Writings about Generals in Postwar Taiwan Fiction: A Preliminary Inquiry

自古「戰爭」向來是文學創作的重要主題與素材，將軍在戰場上運籌帷幄，一呼百應，一動一靜之間往往對戰局與歷史都有深遠影響，因此在許多以戰爭為背景的歷史小說中是不可或缺的重要人物，小說家朱西甯就曾以《將軍令》一書拋磚引玉，鼓勵文壇建立「將軍書寫」之風氣。然而，就臺灣文學的歷史脈絡而言，因為承載著國府於內戰慘敗，退守海隅孤島的傷痛過往，這些戰爭小說中的敗軍之將並無意氣風發的神采，而是在歷史悲劇中沉淪的「反英雄」；白先勇的〈梁父吟〉與〈國葬〉，王文興的〈龍天樓〉都是臺灣現代主義時期在這方面的代表作，而且也切合了西方現代主義文學質疑英雄主義的題旨，將軍的角色往往被塑造為「反英雄」至於張大春最常被論及的〈將軍碑〉以及黃凡較少獲得學界關注的〈將軍之淚〉兩篇，則可被視為帶有質疑精神的後現代作品：在其中，不但「歷史書寫」的真實性遭受質疑，歷史中的英雄也不復存在，這呈現出一種比現代主義更為激進的史觀與英雄主義觀點（或可稱之為反英雄主義）。然而，值得強調的是，不管是張大春或黃凡，質疑歷史的目的並不在於全盤否定歷史，而是在於解構那些與建國神話密不可分的英雄主義，並且強調「歷史書寫」被質疑的可能性。綜上而論，臺灣戰後小說中的「將軍書寫」，其實勾勒出了一個英雄在歷史中沉淪，最後消逝的過程。 War' has always been an important theme and element in literature. Controlling everything and everyone on war fields, every move generals make matters immensely in wars and in history, so they are indeed indispensable characters in many historical novels set in the times of war. Chu Hsi-ning, one of Taiwan's most famous postwar 'army writers,' used to encourage novelists to write more about generals by publishing Generals' Commands (《將軍令》); however, from the perspective of Taiwan's historical contexts, the Nationalist government's traumatic past of defeat in the Chinese Civil War (1946-1949) and its retreat to the small island of Taiwan has been depicted in many works of war fiction, in which all the characters of generals show no odor of victory and pride, instead they play the role of tragic heroes who decline in history. Pai Hsien-yung's 'The Dirge of Liang Fu' (〈梁父吟〉) and 'State Funeral,' (〈國葬〉), as well as Wang Wen-hsing's 'The Dragon Inn' (〈龍天樓〉), are representative Modernist works in this respect which disclose the questionable nature of heroism. Those generals can indeed be compared to the 'anti-heroes' in Western Modernism. As to 'The General's Monument' (〈將軍碑〉), one of the most frequently discussed works by Chang Ta-chun, and 'The General's Tears' (〈將軍之淚〉), one of the most neglected works by Huang Fan, they can be seen as Postmodern short stories which not only challenge the truthfulness of 'written history,' but also make historical heroes disappear. Though they epitomize perspectives on history and heroism which are more radical than those of Modernism, both Chang and Huang question the truthfulness of history not in order to argue that there can be no history at all, but to deconstruct those state-building myths closely related to heroism and to stress the possibility of questioning any written history. In a word, by discussing all the short stories in this preliminary inquiry, what we witness here is a process in which the generals as heroes first decline, and then disappear in the above-mentioned works of postwar Taiwan fiction.