洛夫《漂木》之發生論研究

A Genetic Study of Lo Fu’s Driftwood

本文從發生論文學批評的理論立場比較洛夫《漂木》之原始草稿、第一版與第二版。本文為前文本在了解文本上的重要性提供證據。從手稿研究的角度，筆者主張作家的手稿在學術研究上已佔有重要地位。在擁有史方面，原始草稿只為洛夫之家人擁有。本文研究的手稿為原始草稿之影印本。驚人的發現為原始草稿含有廣泛的刪改，與第一版有觀點、結構、風格、語言與方向等層面之差異。第一、二版之差異為第二版去政治化，更隱晦，更注意聲音的效果與詩行的形式。本文指出《漂木》出版版本之隱晦—不是晦澀—係基於詩人創作此史詩時之風格。

This article compares the draft of Lo Fu’s Driftwood with the first and second editions of the epic from the theoretical standpoint of genetic criticism. This article testifies to the importance of the avant-texte in grappling with the text. From the standpoint of manuscript studies, I maintain that writers’manuscripts have attained important status in academic research. The provenance of the draft has been established with Lo Fu’s family having sole ownership. A photocopy of this draft served as the manuscript for this study. Astounding findings, including extensive revisions in this draft, lead to the conclusion that the draft and the first published edition are disparate in various aspects including viewpoint, structure, style, language, and direction. The second edition diverges from the first edition by being de-politicized, more obscure, and more attentive to sounds and the lines of poetry. This article suggests that the obscurantism—not arcaneness—of the published editions of Driftwood is founded on the poet’s style during the epic’s genesis.