一則「海氛」紀事的輯印史：〈偷頭記〉在近代中國的流傳與寓意改造（1863–1957）

The Printing History of a First Opium War Anecdote: The Dissemination and Changing Perceptions of Toutou Ji, 1863–1957

〈偷頭記〉是寧波士紳徐時棟在追憶鴉片戰爭時創作的一篇記事文。本文追溯故事的流傳，探討不同時代的人如何輯印這一文本，並分析後世如何出於不同旨趣，改造這個故事的內容與寓意。從文本的流傳來看，清末董沛、陳康祺、沈鎔經與孔廣德等人輯錄此文本或將其附入其他書籍，使之「藉附以傳」，是這一地方故事得以流行全國的關鍵。至民國時期，此故事已經成為各類出版物中常見的內容，後來又被馬克思主義史學著述引述，逐漸在大陸確立歷史常識的地位。從文本內容的改造與寓意來看，徐時棟本來強調「偷頭」活動的自發性，暗含對揚威將軍奕經消極行動的不滿。而沈鎔經等輯印者，卻不再由此事聯想過去的歷史，而是把自己對中西關係現狀及未來的悲觀認識寄寓其中。同時，儘管在徐時棟的原初文本中並未交代，但徐保與黑水黨卻逐漸成為故事公認的主角。他們的盜賊形象，因動員宣傳的需要，在抗日戰爭時期被徹底改造為抵抗外敵的民族英雄。馬克思主義史學著述接受這一形象，將黑水黨與三元里事件塑造為近代中國民眾最早的自發性對外抵抗。〈偷頭記〉文本在後世的流傳與改造，展現出不同時代認識及主觀建構鴉片戰爭歷史意義的特殊歷史。

Toutou ji偷頭記(lit. The Record of Stealing Head), authored by member of the Ningpo gentry Xu Shidong徐時棟(1814–1873), documents a remarkable anecdote from during the First Opium War. The aim of the present paper is twofold: exploring the dissemination of the story and analyzing the changes in the messages conveyed by those doing the retelling. Regarding the former, owing to the efforts of Dong Pei董沛(1828–1895), Chen Kangqi陳康祺(1840–1890), Shen Rongjing沈鎔經(1834–1885), and Kong Guangde孔廣德(?–?), this local story was disseminated widely by being appended to well-received compilations in the late Qing book market, which ensured its later move from a local to national level of popularity. Toutou ji even made frequent appearances within mass media during the Republican era and has become a well-known historical event under the influence of Marxist historians. Secondly, concerning its contents and transformed messages, much has changed from Xu’s initially shaping of the story as a grievance against the Qing general Yijing奕經(1793–1853) and his inaction. Officials and literati in the following decades seemingly overlooked its link with the past, recontextualizing the story as a negative trope for the future of China coming in increasing contact with foreign countries. Xu Bao徐保(?–?) and the Heishui Party黑水黨, for example, became widely accepted as having prominent roles in the story, although Xu never addressed either of these names originally. Mobilization and propaganda for the Second Sino-Japanese War further created new images of the protagonists, depicting them as national heroes combating imperialist intruders. In addition, Marxist historiographical works from the 1940s onwards accepted the new images due to an urge to rewrite modern Chinese history by stressing the people’s leading role in the fight against foreign powers. The dissemination and changing perceptions of Toutou ji ultimately shed new light on a hitherto untouched field and introduce an epistemological approach towards the study of the significance of the First Opium War.