| Abstract: | 賴惠川是日治至戰後初期嘉義地區頗負盛名的傳統文學作家。他的作品豐富，所著《悶紅館全集》共收錄八部作品：（1）《悶紅小草》，（2）《悶紅詞草》，（3）《悶紅墨屑》，（4）《悶紅墨瀋》，（5）《悶紅墨餘》，（6）《悶紅墨滴》，（7）《悶紅詠物詩》，（8）《續悶紅墨屑》，總計共創作了4253首詩，174闋詞，100首曲詞，被稱譽為「嘉義第一詩人」、「臺灣百年來最重要的詩人之一」。研究賴惠川《悶紅館全集》的學者寥寥無幾，僅有少數幾位研究過《悶紅墨屑》，其他七部作品皆無人研究，因此，本論文秉持拋磚引玉的心態，研究《悶紅詠物詩》。本論文共分七章：第一章「詠物詩的意義界定」，先界定詠物詩的意義及研究範疇。第二章「歷代詠物詩源流探討」，概略說明歷代詠物詩的發展狀況。第三章「賴惠川文學創作的時代背景」，探討日治及戰後初期文人寫作的環境背景。第四章「賴惠川《悶紅詠物詩》的分類」，賴惠川將《悶紅詠物詩》分為25項目頗具系統，本章將析論賴惠川分類的依據。第五章為「賴惠川《悶紅詠物詩》考釋」，選取內容新穎突出、較具特色的詠物詩作考證及解釋，所選詠物詩的數量約為本書的三分之一。第六章「《悶紅詠物詩》的內容特色及寫作技巧」，將640首《悶紅詠物詩》的特色及本書寫作技巧分兩節探討，依使用新舊語詞、疊字使用的頻繁及典故引用恰當等項著墨，突顯賴惠川創作的特色。第七章「結論」。
ABSTRACTLAI, Huichuan was a traditional literature writer from Jia Yi, Taiwan during the Japanese occupation to the early after-war period. One of his great numbers of works, “Menhong Mansion collection” has eight individual segments: 1.“Menhong Hsiao Tsao” (literally the Small Sward), 2.“Menhong Tzu Tsao” (literally the Sward of Words), 3.“Menhong Mo Hsieh” (literally the Dregs of Ink), 4.“Menhong Mo Shen” (literally the Juice of Ink), 5.“Menhong Mo Yu” (literally the Remainder of Ink), 6.“Menhong Mo Ti” (literally the Drops of Ink), 7.“Menhong Chants”, 8.“Menhong Mo Hsieh Continued”. Lai had written 4253 poems, 174 pieces of Ci poetry, and 100 pieces of Qu poetry and was recognized as the best lyricist in Jia Yi, as well as one of the most important poets through out Taiwan’s history. There have been only a few researchers paid attention to Lai’s Menhong Mansion collection, some of them have studied “Menhong Mo Hsieh”, while the other seven segments have been neglected. Thus, this study is focused on “Menhong Chants”, looking for more attention to be drawn. The paper is composed of the seven following chapters: I. The Definition of Chants, is to identify the chants and the scope of studyII. The Roots of The Chants in The Previous Dynasties, is to roughly introduce the development in the previous dynastiesIII. The Background of Lai’s Literature, is to look into the literary atmosphere under the Japanese governance and during the early after-war time.IV. The Categorization in “Menhong Chants”, is to analyze Lai’s system whith which he sorted the chants under 25 itemsV. The Examination and Interpretation to “Menhong Chants”, is to examine and interpret the selected characteristic chants which are around one-third of total chants in the bookVI. The Features and Writing Skills in “Menhong Chants”, is to reveal the features and writing skills through two sections: the frequencies of repetition and modern/traditional wordings; the application of allusionsVII. The Conclusion Keywords: Huichuan LAI, Taiwanese Literature, Chant, Traditional Chinese Poet |
