1920年代台灣日文口語自由詩的確立：以後藤大治為中心

Abstract

本文將探討1920年代台灣日文口語自由詩確立的過程中，在台日人後藤大治如何扮演了重要的角色。1920年代，日文口語自由詩在台灣大量出現，詩刊、詩社與詩集也隨之而起，但前行研究對此時期的日文詩作與詩人的認識卻付之闕如。本文將透過橫跨日台兩地的文獻調查，考察此時期日文口語自由詩在台灣確立的背景。首先將從日本的詩話會機關雜誌《日本詩人》對於地方詩壇的關心，說明台灣進入日本詩壇視野的契機。其次透過後藤大治在台日兩地的文學軌跡，爬梳他逐步登上《日本詩人》的過程，並探討他如何繼承詩話會發揚地方詩壇的理念，讓口語自由詩在台灣逐漸普及。最後透過實際詩作，討論後藤大治如何運用台灣獨特的風物及語言完成具有「台灣鄉土色彩」的口語自由詩。

This paper explores how Gotô Daji (後藤大治), a Japanese poet who lived in Taiwan, played a critical role in the establishment of free verse in Japanese in 1920s Taiwan. In the 1920s, numerous free verse poems in Japanese appeared in Taiwan, and poetry journals, poetry clubs, and poetry collections followed. However, previous research about those texts and poets of this period has been limited. This paper examines the background of the establishment of free verse in Japanese in Taiwan during this period through a literature survey across Japan and Taiwan. First of all, this paper explains why Taiwan entered into the field of Japanese poetry through the concern for local poetry by a Japanese poetry organization, Siwakai (詩話会), and its magazine Japanese Poet (日本詩人). Secondly, this paper examines the process by how Gotô Daiji joined in Japanese Poet through his literary trajectory in Taiwan and Japan, and probes how he inherited the idea of Japanese Poet that poetry would carry forward local poetry, and let the free verse spread in Taiwan. Finally, through actual poems, this paper discusses how Gotô Daiji used unique Taiwanese subjects and language to complete the free verse poems with Taiwanese local colors.