何其芳詩文抒情模式的建立與轉化（1931-1949）

Abstract

何其芳（1912-1977）為中國三零年代以降最重要的詩人之一，其寫作歷程與中國現代文學與政治的牽繫極深，故歷來諸家多以各種主義、流派與思潮角度切入，因此往往落入後見之明的窠臼，未能以一最原初的人情之常對其作品加以梳理，以此尋繹何其芳作為一文字創作者，其詩心發顯遞嬗的原貌。 本研究試圖以《何其芳全集》為本，對所有現存的詩文創作進行分析，聚焦於《預言》、《畫夢錄》中抒情模式的成立，往前溯及詩人少年的學思歷程，下及1937以後的《刻意集》、《還鄉雜記》、《夜歌》、《星火集》、《星火集續編》諸作對此一抒情模式的承繼與轉化；更單刀直入分析毛澤東在何其芳詩文創作如何體現與作用的情形，以明見何其芳風格轉換的樞紐。在文本分析的過程中，格外著意於詩人自身對文集編選的用心，與各作品之間相互聯繫照應所產成的意義，乃至詩人自我形象數度轉換的過程中，各種自我面相的交映與對話。 何其芳在京派時期，便在《預言》中呼喚了一個詩中的自我，並大加演繹此一形象，展現了抒情與自我表現的最大可能。《畫夢錄》更是造出了一個確保創作之經驗絕對真實的世界，和《預言》合觀，共同營構了一個精緻華美的抒情模式。於《還鄉雜記》歸返之後，詩人收攏年少的回憶，使身心達到了第二度的和諧，繼之引發現世安頓的追求，並收拾舊作成《刻意集》，宣告自己「夢中道路」的終結。續以革命的自我召喚，在《夜歌》中勇敢斬斷伊鬱善感的舊我，再一次呼喚新的劍眉星目的文藝鬥士形象。《星火集》以後詩人則掃除所有過往的迷霧，在毛澤東形象的牽引與自我建構中，奔向心中的崇高至境。而在晚年詩文中，毛澤東形象崩毀後，我們仍可看到詩人的自覺與自期：一位始終前衛、始終變化的現代詩人的丰姿，儘管數度移易，但其本心未曾斷絕。 本研究旨在由這樣的耙梳過程中，顯現一解讀文本的角度與序列，企盼能在既有的框架外，對何其芳一生筆耕的歷程，作出更具意義與關懷的詮釋。

He Qi Fang（1912-1977）is one of the most important poets after 1930s. His writing process closely related to Chinese modern literature and politics, so commentators adopted ideas from different isms, schools, and trends to interpret his works. In this way, it is difficult to interpret his poems from a pure feeling-oriented perspective and explore the original message that He wanted to express. The present study intended to analyze all the poems in《He Qi-Fang Chuan Ji》, focusing on the sentimental style in《Yu Ian》and《Hua Meng Lu》, tracing back to his learning and thinking process in his early age and exploring how this sentimental style continues and changes in his following works 《Ke Yi Ji》、《Huan Xiang Za Ji》、《Ye Ge》、《Xin Huo Ji》、《Xin Huo Ji Xu Bian》after 1937. Furthermore, this study directly analyzed how Mao Ze Dong was embodied in He’s poems to visualize the turning point of He’s writing styles. When analyzing the works, the researcher put emphasis on the poet’s carefulness in terms of selecting and editing, the meaning emerging from the interweaving relationships between the works, as well as the self-reflection of the poet from different angles during the process of promoting his self-image. He Qi Fang created a self-image in 《Yu Ian》in Jing-Pai period and expanded this image to show how to express sentimental feelings and the idea of ‘self’ ultimately. 《Hua Meng Lu》further created a real world with the experience of creation and established a delicate sentimental style with 《Yu Ian》. After he finished 《Huan Xiang Za Ji》, the poet packed up the memories of his young age and made himself feel harmonious both physically and mentally. Later on, he wished to pursue a peaceful life and collected his old works in 《Ke Yi Ji》, announcing the termination of his ‘dream road’. Afterwards, he presented how he turned the sentimental and depressed self into a new and fresh image of a fighter of literature. After 《Xin Huo Ji》, the poet cleaned up all the unclear thoughts before, and constructed his self-image through the guide of Mao Ze Dong’s image to reach a peak. In his latter works, we still can see his self-awareness and self-expectation after the decay of Mao Ze Dong’s image. He showed us his charm as a modern poet, sticking to his heart even going through several changes. The present study aimed to reveal a different angle and order to analyze He’s works, making a more meaningful and caring interpretation of He Qi Fang’s writing process instead of just standing in the existing frames.