文化中國．地理台灣─蕭麗紅一九七○年代小說中的鄉土語境

Abstract

一九七○年代以來，文化論述中的「台灣鄉土」，最初是做為「中國鄉土」的替身而出現，在文學中，「台灣鄉土」與「文化中國」兩種符碼深具重層性。以此時代背景觀閱蕭麗紅七○年代小說的「鄉土語境」，自《冷金箋》以來，地理台灣與文化中國的符碼即重層並存，成為她的文學基調。蕭麗紅自陳，她之所以寫作《桂花巷》、《千江有水千江月》，皆與感歎時代變遷、文化精神源頭失落有關，其「鄉土寫實」是對西化的反思，而其作品中所呈顯的「文化中國」（父國）與「地理台灣」（母土）之曖昧糾葛，更表徵了一種時代語境。海邊、港灣、八掌溪、魚塭、鹽田、堤岸等空間意象，形構出蕭麗紅作品中獨特的「故鄉語境」。而關於「文化中國」之部，在《冷金箋》中是傳統戲劇、音律、女教、女性美，在《桂花巷》中，則是包括纏足、斷掌、貞節在內的一套中國女性身體論述。《桂花巷》對「文化中國」禮教束縛的批判性甚強。相對的，《千江有水千江月》中，「地理台灣」的具體圖景增加了，鄉土情懷溢於言表，結合土地與親族關係，「母土」概念豐盈；另一方面，「文化中國」的圖景卻也同樣鮮明，透過年節禮俗風俗繪的刻劃、婦德女教經典的傳述，「好女有德」是這部小說的基本女性圖像，文化中國以父權文化的符碼挺然矗立，「父國」意象鮮明。「文化中國」與「地理台灣」交織重層的圖像，正是蕭麗紅七○年代小說「鄉土語境」的基調。

From the 1970s, at first the cultural discusser of “Native Taiwan” is a substitute for “Cultural China”, the two codes of “Native Taiwan” and “Cultural China” have multi-layeredness in literature. We can take the background as a basic to study the “Native locality” of Hsiao Li-Hung’s works in the 1970s, from the work of “Leng chin chien” the codes of geographic Taiwan coexist with the Cultural China, and turn into a kind of fundamental key in her creation. Hsiao Li-Hung said that the reason to create “Kuei hua hsiang” and “A Thousand Moons on A Thousand Rivers” is to sigh the transiyion of times, and the lost of cultural spirit. “Native Writing” is her self-examination of modernity, her works are not only presented the ambiguous dispute between Cultural China（Fatherland）and geographic Taiwan（Motherland）, but also characterized the context of age. The space images such as the sea, harbor, pa-chang river, fish farm, salt pan, and an embankment were composed a special folk context in the Hsiao Li-Hung’s works. The description about “Cultural China” in “Leng chin chien” were traditional drama, tonality, feminine education and the female beauty; in “Kuei hua hsiang” were about a set of Chinese feminine body discusser, such as bound feet, tuan-chang and chastity. There is a very strong criticism to the constraint of Cultural China’s manner and education in “Kuei hua hsiang”. On the one side, there have more concrete views of geographic Taiwan and full of deep feeling in folk, the concept of “motherland” is getting full and rich by combining motherland and clannish relationship in “A Thousand Moons on A Thousand Rivers”. On the other side, there also has a vivid prospect of Cultural China, and the basic feminine image in this novel is “good woman has good virtue” by describing the customers, manners and the classics of feminine education. Cultural China is distinguished from others as patriarchal culture, and the image of “fatherland” is bright. “Cultural China” and “geographic Taiwan” interweave a multi-layered image to be a folk context fundamental key in the 1970s novels of Hsiao Li-Hung.