企慕屈騷－－洪棄生〈游子賦〉之神遊與壯遊探究

洪棄生（1866-1928）之「遊」始於廿歲〈瓦窯村讀書記〉，透過文獻閱讀（reading literature）神遊中原山水。廿六歲〈遊子賦〉（1892）形式上摹擬〈九歌〉型句式、借鑑〈離騷〉型句式，內容上複製〈哀郢〉屈原第二次流放路線，擘劃千里壯遊。蔡英俊提出「擬古」之兩個面向，其一是作品表現形式上的「摹擬」，其二是情感層面上的「認同」，頗能說明其創作意識。由於清代科舉童生考律賦，洪氏身為生員不必為鄉試、會試準備律賦考試，然而新科進士於保和殿參加選拔庶吉士的朝考還是考律賦，因此有志於殿選者多持續習作律賦，律賦儼然成為試賦主流。〈遊子賦〉摹擬非主流騷體且為更少見的〈九歌〉型句式，映現認同屈騷情懷，追尋其流放路線，有其獨特的創作意識。乙未巨變洪氏閉門教子，每隔十年賦詩自比屈原，轉化「摹擬」屈騷為「企慕」情懷。四十六歲〈喜次兒十二歲能詩兼畫〉冀望次子繼承「屈騷情懷」，成就家族意識。五十歲〈痛斷髮〉決心壯遊中華。五十七歲由次子陪伴下，完成〈遊子賦〉所擘劃的湘鄂之旅。《八州遊記》〈凡例〉記載：「一路遊跡所及，無論勝地僻壤，寫風景外，必一一窮其歷史」，然而湘鄂一段述行：燈下聽雨、泊舟如鳧、兩岸點燈、舟行境屏，美如畫境，略異於《八州遊記》經史記憶與實境對比之述行手法。故以「企慕屈騷」為核心，探究〈遊子賦〉之神遊與壯遊，映現洪氏之「遊」於日治時期旅遊書寫的獨特性。 Hong Chi-Sheng (1866-1928), when he was twenty-year-old, built the idea of the God tour of Zhongyuan landscape from the reading literature. At the age of twenty-six, ''Vagabond Fu'' (1892) is a form of the sentence ''Formal simulation'' (Nine Odes). The content is copied from the Qu Yuan exile route, then planning a Grand Tour of travel. Two aspects of Quasi-ancient are proposed by Cai Yingying-jun. The first is the formal simulation, and the second is the emotional identity. Especially, Vagabond Fu is a non-mainstream stylistic, which expresses the Qu Sao feelings.Self-comparison with Qu Yuan, Mr. Hong wrote the poems every ten years after the Yiwei's event. Forty-six years old, he hopes that the second son will inherit the Qu Sao feelings. Then he determined to travel Grand Tour in China at fifty years old. Accompanied by the second son, he completed the Hunan tourism tour of the “Vagabond Fu” planning at the age of fifty. Eight States Travels records the beautiful travel environment of Hunan and Hubei. Thus, the study of God and grand tour of “Vagabond Fu” that is taking “Admiration for Qu Sao” as the core, then presenting the special tourism of Mr. Hong.