「花心動」周夢蝶〈賦格〉手稿初探

“The Stirring of the Adventurous Heart of the Flower＂: A Study of a Manuscript of Zhou Mengdie

檢視詩人周夢蝶〈賦格〉手稿，以及《不負如來不負卿》，我們認為應該稱前者為草稿（rough drafts），而後者或許應名之為清稿（fair copy）。本文希望可以透過辨識草稿的痕跡，謄寫與書寫過程的建構，獲得一個與傳統不同之「文本」（或是應說是「前文本」avant-texte），而此「（前）文本」與創作，出版文本與詩的主題有一層應進一步釐清的複雜關係，因為此「文本」記錄著更深層的模式，其意義影響我們對刊印文本與創作活動有密切關聯之前文本本身的理解。比較《不負如來不負卿》清稿與〈賦格〉手稿，或許我們可猜測詩人寫作至少有兩個（或以上）階段，在草稿紙張的創作空間上展開：運用文本生成學（genetic criticism）理論的一個說法，就是「初訂稿」（sketch draft）與在手稿空間中央部份的「綱要」（scenario）。經由針對手稿文字的謄寫與寫作過程的推敲重建，獲得一個所謂的「前文本」。論文最後認為，以上述理論建構出的前文本為基礎，並且再將手稿中數字編碼考慮入內，則詩人在聲音與韻律層面之上，所展現出來的書寫過程似乎召喚回〈賦格〉詩中對於歷史與記憶的主題的關懷。這個特點，使得我們可以重新反省作為探討創造活動為主的現代手稿研究是否與記憶、歷史記憶與語言記憶有著進一步的深層關聯。

To use the terms of “rough drafts” and “fair copy,” derived from genetic criticism, to supplant the more generalized or even misleading term of “manuscript” to describe “Fuge” or Bu fu rulai bu fu qin is perhaps more appropriate. By examining the traces in the manuscript and additional processes of transcribing and reconstruction, we hope to arrive at a “text” or avant-texte. This text or avant-texte should assist us in clarifying the complex of relationships among the published text, the creative process, and the thematic concerns of the poem under examination. The avant-texte embodies a hidden matrix and its significance affects our grasp of the published text and its relationship with the creative process. With a careful comparison between the manuscript materials of “Fuge” and Bu fu, we are able to ascertain indications which point to the possibility of two stages in the composition process realized in the space of the manuscript of the poem. Genetic terms such “sketch draft” and “scenario” correspond to the characteristics revealed in the manuscript. By the work of transcription and reconstruction, we can hypothesize an avant-texte and this theoretical text compels us to reflect, especially if we take into account the mysterious numerical notations on margins of the manuscript, their connection with traditional Chinese rhyme schemes, and with the issue of memory and history in general, whether genetic criticism which tends to concentrate on the creative process should also pay heed to, just as Louis Hay has already suggested, the issues of history and memory, in addition to the more secluded activities of composition.