在一九三八年年底以汪精衛為主的一批國民黨高官，從重慶出走到越南河內，公開主張「和平運動救國」路線，呼應日本近衛內閣提出的「亞洲新秩序」聲明。一個受到日本政府支持，以汪精衛為首的國民政府，吸納了臨時政府和維新政府的原有政權，於一九四○年三月三十日於南京正式成立。在汪精衛政權運作的四年餘，南京和上海兩地並沒有因此停頓其文藝和文化生產。於是，從文化場域的觀察，一個在汪政權運作下的文人羣體的組成生態，文學雜誌創刊的目標和文學實踐方式，都成為我們觀察戰爭時期淪陷區文學的重要現象。儘管日後文史論述上大都以「漢奸文學」、「鞏固日本殖民統治」等脈絡批判，但不能否認一個曖昧和頗具爭議的文學和文化空間的誕生，卻呈現出戰爭時期的文學生產和文人生態的複雜。其中，又以汪精衛及其文人幕僚長期浸淫於古典詩學，跟傳統文人互動頻密，雅集唱酬不斷，創辦發行古典詩詞刊物，形成戰爭時期一個古典詩詞蓬勃發展的氛圍。而龍榆生主編的《同聲月刊》是汪政權時期最重要的韻文研究刊物，古典詩學的復興作為汪政權重要的文藝實踐和抒情想像的另一面，對汪政權推動「和平文藝」有著值得觀察的意義。本文以龍榆生與《同聲月刊》，及其在汪政權的出版脈絡和意義為核心，追問以下一組問題：相對抗戰陣線，這些傳統文人羣體參與汪精衛政府底下文藝建制發行的刊物，我們該如何理解他們的文學生產與文化心態？在文學與政治之間，這些文人的思考和抉擇，以及他們的傳統文學實踐，產生哪些不同意義？這本刊物在傳統詩詞界又發揮著甚麼樣的功能和角色？對於汪政權而言，「和平文藝」和傳統文學空間的經營，是否在同一基調上構成一個迴避抗日的最佳場域？政治人物甚至透過詩學的古典抒情意圖替自己的政治行為辯護？本文透過以上種種問題和思考，進一步深究分析，以及展開討論。

Initiated by Wang Jingwei, a Chinese politician who led the Nanjing regime supported by the Japanese invaders in 1940, a group of literati gathered to compose classical poetry and publish poetical magazines. Their literary works, also known as collaborationist literature, structured a controversial discourse of the time. Tongsheng Monthly, edited by the major ci poet Long Yusheng, was considered one of the representative collaborationist publications. By exploring the performance of the monthly, we would come to see why the literati wrote in their own political interests while practicing lyricism in the Japan-occupied zones. This paper attempts to investigate the political and literary significance of Tongsheng Monthly, its editor Long Yusheng, and its contributors. Promoting “literature and arts of peace,” the magazine contributed, on the one hand, to the revival of classical poetics, and on the other hand constituted a controversial discourse, where literati composed rhetorical expressions in ci poetry for excusing their collaborationist deeds. Studying their literary practices helps not only explore the poets’ political concerns, but also reconsider the context and value of collaborationist literature.