特別收錄 / 編輯的話：　　再訪天竺 自明中土

　　在想像世界版圖的“西方”時，尚有一個離感官更遠而腳程更近的“西天”。

中國須要深切思考印度、親近印度是為了自明。 中印兩國首次在當代藝術與學術的深入交流，探討歷史文明和當代文化的歸屬，八位當代印度批判知識界、藝術圈最活躍頭腦的作品集；2010年秋，上海雙年展“從西天到中土：印中社會思想對話”成果之一

民族主義，真誠與欺騙：關於印度兩種早期後民族主義論調的姍姍來遲的訃告1

　　民族主義不是愛國主義。民族主義是一種意識形態，用與其它意識形態一樣的方式配置於人類性格中。它在殖民時期作為民族國家的配件，騎在肩上進入亞非世界。愛國主義是一種非特定的情感，圍繞人類和好些其它種類生物共通的領地形態而產生。這一未被承認的差異是對印度國父甘地的傳統民族主義和羅賓德拉納特? 泰戈爾對民族主義的全面拒絕這兩者的激烈批評的核心。

　　維奈?拉爾告訴我們，印度人是根深蒂固的紀錄追求者。2吉尼斯世界紀錄從未從其他國家收到過這麼多的認證申請——至少有十分之一的申請都是從印度發來的，有一些還真的破了紀錄，其中有22年來始終站在村裡路邊同一地點的靜默虔誠的人，也有為了創造微書紀錄而在一顆大米上寫了1314 個字的人。3奇怪的是，恰恰有一項獨特的紀錄印度人竟沒有去申請。在民族國家存在的這350年歷史中，它有一項無與倫比的成就，而且只要民族國家的體系繼續存在，這項紀錄就不可能被打破。羅賓德拉納特?泰戈爾，公認的印度民族詩人，印度國歌Jana Gana Mana（直譯：印度晨歌）的詞曲作者，印度的另一首國歌，由班金齊德拉?查杜柏提作詞的Bande Mataran（英語直譯：母親，我向您鞠躬）的作曲。同時也是孟加拉國國歌的詞曲作者。最近幾年，反印情緒在孟加拉國有所增長，而該國的原教旨主義運動也在萌芽之中，這種運動仇視任何印度或者印度教的東西。不過，就我所掌握的情況，目前還沒有任何聲音出來反對泰戈爾所創作的國歌。這還不是全部。泰戈爾還為斯裡蘭卡的國歌譜曲，雖然歌詞不是他寫的。同樣的，斯裡蘭卡人可能和印度這個國家也不總能愉快相處，但他們似乎和印度的民族詩人卻很融洽。

　　泰戈爾並非特例；與之類似的，還有其他沒那麼戲劇化的例子。在這裡我要提一下一首歌Sare Jahan se Accha（直譯：高於全世界），這是民族詩人、巴基斯坦開國之父之一的穆罕默德?伊克巴爾（Mohammad Iqbal，1873 —1938 ）譜寫的。這首歌是印度陸軍主要的行軍歌曲——甚至在同巴基斯坦軍隊作戰的時候也唱這支。很明顯，在南亞，“領土（territoriality）”的概念和“民族文化”的概念在操作中略有不同。

　　在1913 年獲得諾貝爾獎之後，泰戈爾成為了一名泛亞洲英雄。他是第一個獲得諾貝爾獎的亞洲人，而且他獲獎時殖民主義正如日中天。這一點很重要。1916年，當一戰在歐洲正如火如荼之時，泰戈爾第一次去日本作巡迴演講。當他抵達神戶時，日本人非常熱情地歡迎了他。在有些地方，他受到如前來國事訪問的君王一般的禮遇，他的動向被日本一些報紙的頭版所報道。不幸的是，泰戈爾所做的一部分演講是關於民族主義的。今天，這些演講可能不會被視為多麼激進和令人不安；有些觀點現在聽來已經耳熟能詳，儘管有些看來還是非常新鮮和富有煽動力。4但沒有一個觀點是會把東京灣點燃的。然而，當時日本人正處在一種相當狂亂的民族主義劇痛之中，而泰戈爾對民族主義的批評令他們感到極度不安。演講裡不僅有對民族主義激發的軍國主義和帝國主義的嚴厲控訴，還有針對日本新近打造的將自身置於歐洲或民族主義的思想之中心的這種政治面貌的暗諷。泰戈爾堅持認為，日本的危險之處“不在於模仿西方的外在特徵，而是把西方民族主義的原動力當成她自己的來接受。”5大部分日本報刊和知識分子都感到氣憤難堪，而把演講的內容解釋為一個來自於被擊敗的文明的詩人的東拉西扯（正如泰戈爾在1924 年訪問中國的時候，出於另一類原因，某些中國人所做的一樣）。仰仗日本不久前獲得的帝國光輝以及成為新的全球強國的勝利，這些人把泰戈爾當做是眼中釘肉中刺。泰戈爾抵達東京火車站時，曾受到數千群眾的歡迎；而當他離開日本的時候，據說，只有一個人來送別——接待他的主人。6

　　民族主義在殖民時期印度也並不短缺。許多印度人也覺得泰戈爾的行為奇怪，雖然還不至於覺得他無法解釋或出人意料。他們對使人的反應在很多方面與他在日中兩國受到的反應相容。7他已經因為反對民族主義暴力而引起了死硬派印度民族主義者的敵視；他們都準備好了聽泰戈爾說出最嚴重的話來。他的三本小說，《戈拉》（Gora,1909年），《家庭與世界》(Ghare Baire,1916年)，和《四章》 (Char Adhyay,1934年)，被視為對鋒芒畢露的、男性氣質的民族主義的直接攻擊。它們傷害了許多出於政治正確的原因而必須吞咽這些書的讀者的感情。因為，吊詭的是，泰戈爾已經是印度非官方的民族詩人了。他不僅寫下了數百首愛國主義歌曲，這些歌還鼓舞了許多印度的自由鬥士——從莫罕達斯?卡拉姆昌德?甘地，到那些承受警察的警棍和子彈的卑微的志願者和抗議者。即使在監獄裡，許多自由鬥士也高唱泰戈爾的歌曲來保存士氣。

　　Nationalism, Genuine and Spurious: A Very Late Obituary of Two Early Post-Nationalist Strains in India Indians, Vinay Lal tells us, are inveterate record seekers. From no other country does the Guinness Book of Records receive so many applications for recognition – at least one-tenth of all applications to the Guinness Book emanates from India – and some of them do get into the book – from the silent holy man who stayed on the same spot on a roadside in a village for twenty-two years to someone who wrote 1,314 characters on a single grain of rice to set a record in micro-writing. Strangely, the record that the Indians have not claimed is a unique one; it involves an achievement that has not been equalled in the three-hundred-fifty-year-long history of nation-states and is unlikely to be broken till the nation-state system survives. Rabindranath Tagore (1861–1941), by common consent India’s national poet, who has written and scored India’s national anthem, Jana Gana Mana, is also the composer of India’s other national anthem, Bande Mataram, written by Bankimchandra Chattopadhyay. Tagore also happens to be the writer and composer of the national anthem of Bangladesh. In recent years, anti-India sentiments have grown in Bangladesh and there is also a budding fundamentalist movement in the country, hostile to everything Indian or Hindu. Yet, not one voice has been raised, to the best of my knowledge, against the national anthem written by Tagore. That is not all. Tagore has also scored Sri Lanka’s national anthem, though he has not written the lyric. Sri Lankans, too, may not always live happily with the Indian state, but they seem to live happily with India’s national poet.

　　Tagore is not alone; there are other less dramatic instances of the same kind. I could mention here the song “Sare Jahan se Accha” of Mohammad Iqbal, the national poet and one of the founding fathers of Pakistan, which constitutes the main marching song of the Indian army, even when it marches to fight the Pakistan army. Obviously the concepts of territoriality and “national culture” work trifle differently in South Asia.

　　After he won the Nobel Prize in 1913, Tagore became a pan-Asian hero. He was the first Asian to win a Nobel Prize in any subject and he did so in the high noon of colonialism. That mattered. In 1916, when World War I was raging in Europe, Tagore went to Japan for the first time on a lecture tour. When he arrived at Kobe, the Japanese welcomed him very warmly. At some places, he was treated like a monarch on a state visit and his movements were reported in the front pages of some Japanese newspapers. Unfortunately, some of the lectures Tagore delivered were on nationalism. Today, they may not seem disturbingly radical; some of the arguments are now familiar, though others look remarkably fresh and provocative. But none of them is likely to set the Bay of Tokyo on fire. However, at the time the Japanese were in the throes of a rather delirious version of nationalism; they found Tagore’s critique of nationalism terribly disconcerting. Not only were there in the lectures a severe indictment of militarism and imperialism inspired by nationalism, there were in them snide comments on Japan’s newly forged political self centring on the idea of European-style nationalism. What was dangerous for Japan, Tagore insisted, was “not the imitation of the outer features of the West, but acceptance of the motive force of the Western nationalism as her own.” Embarrassed and angry, most Japanese newspapers and intellectuals explained away the contents of the lectures as the ramblings of a poet from a defeated civilization (as some Chinese were to do for a different set of reasons, when Tagore visited China in 1924). Basking in Japan’s newfound imperial glory and its success as a new global power, they found Tagore to be a pain in the neck. When Tagore had arrived at Tokyo railway station, thousands came to welcome him. When he was leaving Japan, it is said, only one person came to see him off – his host.

　　Nationalism was not in short supply in colonial India either. Many Indians also found Tagore’s behaviour strange, though not inexplicable or unexpected. Their response to the poet was in many ways compatible with the response to him in Japan and China. He had already antagonized hardboiled Indian nationalists by rejecting the idea of nationalist violence; they were prepared to expect the worst from him. Three of his novels – Gora (1909), Ghare Baire (1916) and Char Adhyay (1934) – were seen as direct attacks on hard-edged, masculine nationalism. They hurt the sentiments of many who had to gulp them for reasons of political correctness. For paradoxically, Tagore was already India’s unofficial national poet. Not only had he written hundreds of patriotic songs, these songs were an inspiration to many participants in India’s freedom struggle – from Mohandas Karamchand Gandhi to humble volunteers and protesters facing police batons and bullets. Even in jail, many freedom fighters kept up their spirits by singing Tagore’s songs.

民族主義，真誠與欺騙：關於印度兩種早期後民族主義論調的姍姍來遲的訃告1

　　民族主義不是愛國主義。民族主義是一種意識形態，用與其它意識形態一樣的方式配置於人類性格中。它在殖民時期作為民族國家的配件，騎在肩上進入亞非世界。愛國主義是一種非特定的情感，圍繞人類和好些其它種類生物共通的領地形態而產生。這一未被承認的差異是對印度國父甘地的傳統民族主義和羅賓德拉納特? 泰戈爾對民族主義的全面拒絕這兩者的激烈批評的核心。

　　維奈?拉爾告訴我們，印度人是根深蒂固的紀錄追求者。2吉尼斯世界紀錄從未從其他國家收到過這...

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