大海濱城熱蘭遮：楊牧〈熱蘭遮城〉及其手稿之後殖民歷史空間詩學

Fort Zeelandia on the Sea Land: The Poetics of Post-colonial Historical Space in Yang Mu's ''Zeelandia'' and the Manuscript

寫於1975年1月的〈熱蘭遮城〉是楊牧首篇以詩明確書寫台灣17世紀歷史之作，最能體現彼時其既上溯中國古典抒情傳統，復遙想回望福爾摩莎的書寫特質。本文即在藉細析楊牧〈熱蘭遮城〉詩手稿與定稿，探究詩人如何藉海戰書寫展現其後殖民史觀。透過現代詩手稿學研究方法，精讀楊牧〈熱蘭遮城〉手稿，可以發現其透過「張開」、「她的」、「孤帆」等字詞的刪補調動，以細膩的修改完成對不修改處的烘托，連鎖建立了全詩「蟬樹－眠床－巨礮」核心意象。由核心意象在〈熱蘭遮城〉組詩各段之變奏，帶出全詩情慾與戰役兩個敘事線，並予以推進。如此將原初詩手稿圖構熱蘭遮城浩闊海景而懷古之基調，逐次聚焦出藉戰場殺戮與深閨情慾之比對，由此辯證詩人楊牧於留美時受越戰浪潮影響，而積累對殖民與欲望思考的後殖民書寫主軸。〈熱蘭遮城〉「蟬樹－眠床－巨礮」核心意象的變奏以及敘事推進，在組詩結構已可見詩劇雛型。詩人具體透過「場景並置」以及「聲音散落」，使歷史時間產生了角色形象、敘事節奏、場所空間之眉目，其間殖民者對「福爾摩莎」的呢喃之聲，將原本情慾空間轉化為帶融合生育的母性空間，都使〈熱蘭遮城〉得後殖民史觀的文本精神，並遙遙成為詩人對東亞台灣的現實回應。

Composed in January 1975, Zeelandia is Yang Mu's first poem that he clearly wrote with regard to Taiwan's history in the 17th century. Not only does the poem greatly reflect the Chinese lyrical tradition in classics at that time and earlier, but it also nostalgically reminds the readers of Formosa's writing characteristics. Through a thorough analysis of Yang Mu's manuscript and the final version of Zeelandia, the researcher of this study explored how the poet displays his post-colonial historical view by writing the naval battle. When using the codicology methods of modern poetry to carefully read the manuscript of Zeelandia, it can be found that Yang Mu makes delicate modifications to set off the unmodified parts through the deletion and replacement of words such as “open”, “her” and “lone sail,” which thereby connects all parts to establish the core image of “cicada tree-sleeping bed-giant cannon” throughout the whole poem. With the core image, the variations in each group of the poem are combined together, bringing out the two narrative lines of lust and the battle in the whole poem and advancing them. In this way, the poet constructs a nostalgia keynote of the vivid, vast sea view in front of Fort Zeelandia in the original manuscript of the poem, focusing successively on the comparison between the cruel killing on the battlefield and the lustful passion in the boudoir. From this poem, it can be a dialectical argument that the poet Yang Mu was influenced by the wave of the Vietnam War when he was studying in the United States, which led him to accumulate thoughts about colonization and desire and further set a focus on the post-colonial writing. The variations and the narrative advancement of the core image of “cicada tree-sleeping bed-giant cannon” in Zeelandia are already structured as a group poem that is similar to the form of poetry drama. By juxtaposing scenes and scattering sounds in a specific way, the poet creates threads for a certain historical time, including the role image, narrative rhythm, and place space. In the meantime, the colonist' whispering of “Formosa” transforms the original erotic space into a maternal space integrated with fertility, not only presenting with a textual spirit of the post-colonial historical view, but also becoming the poet's realistic yet distant response to East Asia and Taiwan.