從「常夏」到「四季」―—日治時期在臺俳人眼中的季節感與生活寫實（1895-1936）

From "Everlasting Summer" to "Four Seasons" :Sense of Seasons and Realistic Portrayal of Life of Japanese Haiku Poets in Colonial Taiwan (1895-1936)

俳句是一種短詩型文藝，句中必須有能夠表現季節感之「季語」。詩歌表現中的季節感，乃相對於國家的、官方的、權力由上而下滲透所建立的時間，屬於民間的、民眾生活中的時間秩序。另一方面，俳句起源自溫帶季風氣候的風土，當移植至氣候迥異的土地，也呈顯了空間擴張所衍生的時間秩序之問題──帝國的時間與殖民地的時間，兩者的衝突與調和。
從日治初期到1930年代的相關討論可以窺見，對大部份的日本人而言，移動至臺灣是從溫帶移居至（亞）熱帶，面臨氣候條件不同，四時風物迥異，季節感差異、混亂，甚至是不明顯等狀況，這也為俳句的書寫帶來困境。但在追求建立「臺灣俳句」的過程中，在臺日本俳人嘗試建立方向，書寫的視線也逐漸由鄉愁的抒發轉向追尋臺灣趣味，更進而發展至生活寫實，在時間秩序上也開始捨棄以日本本土為中心的季節感，在看似均質的「熱帶」中找到微妙的變化，發現臺灣異質的四季。
此一過程映照視線的框架與當時代人群的心理──從旅居者到定居者心態的轉換，理解俳句必須存在的「共通場域」，也從「內地人之間的共通場域」縮小至「在臺日本人之間的共通場域」。這些風物書寫的背後，隱藏了俳句和理解俳句邊界之移動，同時也反映了日本文化在殖民地臺灣的流變。

The haiku is a type of short poetry, within which one must be able to express a sense of seasons with a “seasonal word “ (a word or theme that indicates a season). The sense of seasons expressed within the poem does not fall within the boundaries of time established nationally, officially, or from top-down authority, and instead belongs to the same flow of time which governs the lives of the common people. On the other hand, haiku originated from a temperate monsoon climate. When it was transplanted to a completely different setting, it also presented the issue of the flow of time within the expansion of space. This encompassed the time of the empire and the time of the colonies, as well as the conflict and harmony that existed between both sides.
From related discussions that span from the early Japanese period to the 1930’s, one can discern that the majority of Japanese moving to Taiwan were faced with issues related to moving from a temperate climate to a (sub) tropical climate. These people encountered changes in scenery, the lack of clear distinctions between the seasons, as well as a different general feeling associated with the seasons in this new setting. Ultimately, this led to confusion and a number of other subtle changes on the part of Japanese poets, which in turn became a predicament in writing haiku. However, in the process of establishing “Taiwan Haiku “ as an art form, the direction which Japanese haiku poets in Taiwan took also changed. The views expressed in their writing gradually shifted from homesickness to preference for Taiwan, depicting realistic portrayal of life. The flow of time also began to abandon the sense of seasons with Japan as the center, and instead looked for minute changes within the uniform “tropical “ climate in order to capture seasonal differences as they appeared in Taiwan.
This process reflected the vision and mindset of Japanese in Taiwan—the shift in mentality from living abroad to becoming a permanent resident. To understand haiku, a “common location “ must exist; hence, this location was reduced from “the common location among Japanese “ down to “the common location among Japanese in Taiwan “. These poetic depictions of scenery contain hidden traces concerning the movement of the boundaries of haiku, as well as the changing ways in which haiku was to be understood. At the same time, they also reflect the flow and change of Japanese culture in colonial Taiwan.