Abstract
The thesis mainly focuses on the classical poetry of Liang Houng-Zhi（梁鴻志） and Wang Jing-Wei（汪精衛） et al. during the Sino-Japanese War, which was written in the enemy occupied area of Southeastern China. It describes how Liang and Wang et al. expressed their classical poetry from the disadvantageous situation of being regarded as immoral and treasonable because of their “peace discourse in wartime（戰時主和論述）.” And further, by comparing the traditional patterns and structures of Chinese classic poetry with their poetry to disclose the meanings of their “peace discourse in wartime,” the thesis intends to value the position of Liang and Wang et al. in the history of Chinese literature. Because their “peace discourse in wartime” was widely disparaged and despised and contemporary nationalism was connected with the Yi-Xia concept（夷夏觀） during the Sino-Japanese War, the “peace discourse in wartime” and contexts surrounding this topic have been regarded as taboo in China since then. In order to expose and discuss this issue effectively, this thesis is stated in the following three steps: First, taking into consideration their concept of peace, political discourse, situation, and the allusions adopted in their poetry during the initial period of the Peace Movement, it is essential to construct the genealogy of their peace discourse as the basis of the epistemology to prove that their peace discourse had reference and heritage instead of coming from nowhere. (ch. 1) Next, having been trapped in the enemy-occupied area ruled by a puppet-regime, most people would be unwilling to get involved in the much disparaged peace discourse. They would not show their support for the Peace Movement, whilst on the other hand, being unable to fight against it. In this situation, they tended to acquire a distant and indifferent attitude toward the status quo. Referring the “enemy-occupied area（淪陷）” and the “dynasty transition（易代）” to each other, I found that “yimin literature（遺民文學）” and the “enemy-occupied area literature（淪陷區文學）” were both created in a similar situation, and so both have an isolated, nostalgic, and romantic poetry style. Therefore, I conclude that the “enemy-occupied area literature” is also “yimin literature.” From this point of view, I have excluded the poetry written by those who didn’t want to resonate with the Peace Movement. (ch. 4) Thirdly, after knowing what the “peace discourse（主和論述）” is based on and excluding those who disagreed with Peace Movement, we get a foundation to analyze step by step how the peace discourse reacted to changes in the political situation. Therefore, by interpreting their poetic diction, we can observe the development of the peace discourse in a detailed way. The analysis will be discussed in the following chapters. One chapter deals with how the poorly-situated Wangs reacted to the Japanese and how they justified their own conduct in the poetry when they were faced with the dishonest and arrogant Japanese.(ch. 2) Another chapter concerns the outbreak of the Pacific War and how the international situation changed drastically and how Wang’s followers persuaded him to change his strategy toward Japan by interpreting and rewriting classical poetic allusions. (ch. 3) A third chapter discusses how after China won the war, the Peace Movement failed, Wang’s followers were put in prison, and how their poetry in prison related to their debate in court and how they justified themselves through their poetry. This poetry turned out to be the last echoes of the “peace discourse.” (ch. 5)