論「國粹」與「香豔」－－民國初年南社與抒情傳統的發現與重構

The “National Essence” and “Fragrant-Erotic Literature”: The Southern Society and Its Discovery and Reconstruction of Lyric Tradition in Early Republican China

在中國抒情傳統中《玉臺新詠》的「豔詩」與韓偓的「香奩」體因描繪男女私情與感官刺激向來遭到儒家正統文學觀的排斥。晚明詩人王次回被認為集「香奩豔體」之大成，清末民初出現「香豔」一詞成為新的文學概念。蟲天子等編輯的《香豔叢書》收入歷代被壓抑的文學著作335種，涵蓋詩歌、散文與小說等各種文類，意味著對抒情傳統的重新發現與重構。本文對民初南社文人所主編的一系列以「香豔」命名的雜誌與書籍作考察，探討它們與歷史進化、國粹與男女平權等觀念的關系，揭示其反專制的文化政治與純文學的美學特征，對於認識中國文學現代性具有歷史價值。

"In the tradition of Chinese lyricism, the “erotic lyrics” represented by New Songs of Jade Terrace, an anthology during the Six Dynasties, and the style of “fragrant boudoir” created by Han Wo in late Tang were condemned by orthodox Confucians for their representations of amoral love and sensational feelings. The late Ming poet Wang Cihui mixed the two styles, from which appeared the term “fragrant-erotic” in early twentieth-century China, implying historical discovery and reconstruction of Chinese lyricism. This paper gives a survey of A Collection of fragrant-erotic Literature published in 1909, which included 355 works of poetry, prose, and fiction; all of them were officially repressed in the past. It also focuses on a series of fragrant-erotic magazines edited by literati of Southern Society in early Republican Shanghai, exploring behind them the new ideas of historical progress, the national essence, and the equal rights between men and women. By revealing their cultural politics of anti-autocracy and aesthetics of sophisticated expression of human nature, it helps enrich our understanding of Chinese literary modernities."