思想的裙角

洪淑苓 著

自 序

完成這本書，是我多年來的心願。和現代詩的接觸，始自年少 時在札記本裡的塗鴉。而後自己胡亂讀著一些詩集，接著寫詩，評 詩，教詩，一路走來，風景無限。我希望有一天可以出版一本女詩 人研究集，因為閱讀女詩人的作品帶給我深刻的感動與啟發，女詩 人的柔婉、隱微、邊緣以及不可思議的「小」敘事，和閱讀男詩人 的「大」作品，實有不同的況味。 因緣際會，進入 20 世紀 80 年代，臺灣學術界興起女性主義批 評的風氣，而我也才漸漸開始接觸女性主義的一些論述。不過，我 尚不夠格自稱為女性主義學者，因為所知有限，只能算是從事廣義 的女性研究。我選擇這八位女詩人，除了因自己較為熟悉她們的作 品外，最重要的是她們分別出生於 1921-1940 年之間，是臺灣資深 的女詩人，在她們的成長過程中，女性主義方興未艾，她們是如何 看待自己的女性身分，在作品中又有著什麼樣的表現？這是我很感 興趣的地方。女性如何藉由書寫來反抗男性中心思想，如何藉由獨 特的觀點建立自己的文學傳統，都是女性主義批評關懷的重點。因 此，我也試著挖掘那屬於女性的獨特意識，觀察女詩人如何用隱 微、敏銳的筆觸，寫出邊緣的處境，或者給予反擊的力道。 然 而， 成 為「 詩 人 」， 也 可 能 有 不 同 的 考 量。 我 從 閱 讀 中 發 現，女詩人往往藉由創作超越現實世界對她的限制，因為「女性」 的身分讓她經常受限於「家中天使」的角色，只有「詩」的世界可 以讓她喘息、飛揚；擁有一張「詩人」的名片，正是她可以介入公 領域的身分證。因此當我在解讀這些女詩人的作品時，我看到更多

ii

思想的裙角— 臺灣現代女詩人的自我銘刻與時空書寫

對於詩學主題的反饋，也促使我不得不加重詩學主題的探討。我 想，每一首詩都是女詩人綰合了生命經驗與創作才華，所交織出的 如錦緞般的文采。詩的創作，正是女詩人內心深處對生命的多音交 響，她們藉由文字讓想像奔馳，讓靈魂自由地飛翔。 這本書的主標題「思想的裙角」，係借用了林泠〈「一九五六」 序曲〉的詩句： 才是三月 ， 已綠得夠深了 那是我思想的裙角 （ 她從鎖住的禁園裏逃出來） 被揚掛在多枝節的樹椏上…… 這引發我們的思考，若說女詩人擁有豐富的心靈世界，為什麼她要 試圖從鎖住的禁園裡脫逃？而當風吹動「思想的裙角」，我們又該 如何解讀那「多枝節」的象徵與內涵？ 面對這些問題，我試著用女性意識、詩學主題以及個人風格， 作為本書的論述架構。各章的安排，不依照女詩人的出生年代來排 列，而是以自我、時空、生死三個座標來區隔，意謂從自我出發， 到對於整個世界、完整人生的觀照。透過這八位女詩人，我們將看 到繁複的女性詩學面向。 有關女詩人的研究，前輩學者鍾玲、李元貞、奚密等，已經為 我們開拓了寬廣的道路。在她們宏觀、議題式的研究成果之外，本 書希望著重個別女詩人的深度研究，抉發她們整體的詩學貢獻，並 為下一部更完整的現代詩史奠立基礎。 最後，謹以本書向所有的女詩人致敬。

洪淑苓 序於臺大臺文所 2014 年 4 月 20 日

目 錄

自 序 緒 論 一、從議題、集體研究到女詩人個別研究 ······································································ 2 二、女詩人的女性意識及其呈現 ······························································································· 3 （一）由女性經驗中覺醒與承擔 ····························································································· 4 （二）重塑理想的女性形象 ·········································································································· 7

三、女詩人的創作主題與本書各章旨趣 ·········································································· 12

第一章 另一種夏娃—胡品清詩中的自我形象 一、胡品清的自我觀與女性觀 ··································································································· 20 二、胡品清詩中的自我形象 ········································································································· 25 （一）鏡中水仙········································································································································ 25 （二）童話公主········································································································································ 27 （三）向光柔韌的芳草 ···················································································································· 30 （四）特殊的女性人物典型 ······································································································· 33

三、胡品清自我形象的演進與評議 ······················································································· 39 （一）1980年代的轉折····················································································································· 39 （二）女性認同········································································································································ 40 （三）女詩人與書寫的堅持 ······································································································· 42 （四）評議 ···················································································································································· 43

四、結語 ······························································································································································ 46

第二章 不繫之舟—林泠詩中的異國想像與女性意識 一、「少女林泠」的印象 ················································································································· 50 二、林泠詩中的異國想像 ················································································································ 52 （一）異國情境的迷與悟：流浪之路與賭城之夜 ············································· 53 （二）異國風情的玄想與啟思：西班牙與荷蘭 ··················································· 58 （三）夢想中的南方··························································································································· 60

三、林泠詩中的女性意識與詩人身分················································································· 61 （一）逐漸明朗的女性意識 ······································································································· 62 （二）以「詩人」的身分立足································································································· 72

四、結語 ····························································································································································· 76

第三章 一株傾斜的櫻樹—朵思詩中的自我追尋及女性審美 經驗 一、朵思的創作意識與女性意識 ···························································································· 82 （一）創作意識的確立 ···················································································································· 83 （二）女性意識的開展 ···················································································································· 85

二、朵思詩歌中的聽覺意象及女性審美經驗 ····························································· 88 （一）聽覺意象及其審美歷程································································································· 89 （二）雙聲陳述與女性詩歌美學 ·························································································· 94

三、朵思詩歌中的身體書寫及女性審美經驗 ···························································· 98 （一）由觸覺建構身體美學 ······································································································· 98 （二）以「女人」建構女性主體與欲望 ···································································· 103

四、朵思詩歌中的自我形象及其美學 ············································································· 106 （一）自我的追尋與女性審美意象 ················································································· 106 （二）花樹意象與女性自我 ···································································································· 109

五、結語 ···························································································································································· 113

第四章 詩心．佛心．童心—敻虹的創作歷程及其心靈模式 一、作品分期及相關問題 ·············································································································· 116 二、詩心：緣情唯美··························································································································· 121 （一）顏色與意象 ······························································································································ 121 （二）悲劇感與崇高感 ················································································································· 125

三、佛心：以空為美 ·························································································································· 129 （一）理性中年的人生觀··········································································································· 130 （二）以空為美的參悟 ················································································································· 132 （三）頌佛詩的形式與意境 ···································································································· 137

四、童心：慈愛為美··························································································································· 140 （一）萬物有情，慈愛護生 ···································································································· 140 （二）以佛理注入童詩 ················································································································· 144

五、心心相印•火焰紅蓮 ············································································································· 146 （一）早期作品的宗教情操 ···································································································· 146 （二）火焰化紅蓮的體悟··········································································································· 148

六、結語 ·························································································································································· 150

第五章 時間的旋律—蓉子詩時間觀的類型與深層解讀 一、論時間 ···················································································································································· 154 二、蓉子夏季詩的觀照 ··················································································································· 159 （一）蓉子夏季詩與原型象徵······························································································ 159 （二）蓉子夏季詩的時間意識與美感 ·········································································· 162

三、蓉子都市詩的時間觀 ············································································································· 169 （一）都市詩與存在的焦慮 ···································································································· 169 （二）都市詩與女性時間觀 ···································································································· 174

四、蓉子山水詩的時間觀 ·············································································································· 181 （一）時間動靜變化的觀照 ···································································································· 183 （二）時間寂靜超越的體驗 ···································································································· 185

五、蓉子詩對「時間」的整體透視 ··················································································· 188 （一）惜時進取的人生觀··········································································································· 188 （二）對「時間」的本質透視······························································································ 191

六、結語 ··························································································································································· 195

第六章 家•笠園•臺灣—陳秀喜詩中的空間文本與身分認同 一、「家」的空間經驗與女性角色認同 ······································································ 199 （一）娘家女兒 夫家妻媳的空間轉變與角色體認···································· 199 （二）守家 離家的空間形式與母親角色的體認 ·········································· 204

二、「笠園」的空間文化與女詩人的自我認同····················································· 211 （一）「聖地」、田園與花園······························································································ 211 （二）女詩人的「詩樂園」 ···································································································· 215

三、「臺灣」的鄉土空間與「臺灣人」的身分認同 ······································ 219 （一）中國 臺灣的國族認同······························································································ 220 （二）臺灣的鄉土場景與鄉土認同 ················································································· 226

四、結語 ··························································································································································· 234

第七章 日常的興味—杜潘芳格詩中的生活美學 一、虔誠的信仰········································································································································ 239 二、通達的生死觀 ································································································································· 244 （一）藉親人之死表達「死即重生」的觀念 ······················································· 244 （二）在柴米油鹽中提煉死與生的滋味 ···································································· 247

三、理性與感性並俱的生活體驗 ·························································································· 251 （一）對民俗節日的冷靜觀察······························································································ 251 （二）對本土風物、氣候的巧妙體會與運用 ······················································· 253 （三）對自然萬物的賞愛與啟悟 ······················································································· 256

四、奉獻與珍愛的倫理親情 ······································································································· 258 五、結語 ··························································································································································· 264

第八章 雪的假想—羅英詩中的死亡世界 一、論死亡及其審美意義 ·············································································································· 268 二、羅英的死亡觀 ································································································································· 270 三、羅英詩中死亡的想像與演出 ·························································································· 277 四、羅英詩中的荒原情境與死亡之美 ············································································· 286 （一）荒原與廢墟：如死亡般的衰頹之美 ····························································· 287 （二）以雪色、雨等意象烘托死亡的純美 ····························································· 293

五、羅英詩中死亡的變形與偽裝 ·························································································· 297 （一）鳥：穿梭死與生的使者······························································································ 298 （二）夜、月、睡眠、夢境：死亡的潛意識與偽裝···································· 301

六、羅英詩中存在與死亡的荒謬感 ···················································································· 306 七、結語 ··························································································································································· 312

結 論 ············································································································································································· 315

參考書目··············································································································································································· 321

第二章

──林泠詩中的異國想像與女性意識

沒有什麼使我停留 ──除了目的 縱然岸旁有玫瑰，有綠蔭，有寧靜的港灣 我是不繫之舟 ──林泠，〈不繫之舟〉

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思想的裙角— 臺灣現代女詩人的自我銘刻與時空書寫

林泠，本名胡雲裳。1938 年生於四川江津，童年在西安、南 京、臺北度過，到臺灣後就讀於師大附中及臺北一女中。1954 年入 臺灣大學理學院化學系攻讀，畢業後赴美國，獲維吉尼亞大學博士 學位，歷任美國化學、醫藥工業界研究發展部門負責人等職位。目 1

前已退休，往返美國、臺灣兩地。著有《林泠詩集》、 《在植物與 幽靈之間》。

2

一、「少女林泠」的印象 林泠為 1950 年代臺灣現代詩壇著名詩人，楊牧、瘂弦等詩評 家，皆十分肯定她的成就。林泠第一本詩集《林泠詩集》由楊牧作 序，此篇序文細剖林泠詩作的優美迷人之處，已成研究林泠的經典 之作；而該詩集出版後，洪範書店負責人葉步榮召開「林泠作品討 論會」，由瘂弦主持，出席者有：羅行、商禽、林亨泰、辛鬱、羅 門、張默、羊令野、張漢良、梅新、碧果、向明、季紅及葉步榮， 都相當肯定林泠的作品。

3

事實上，林泠一開始發表作品，就已經表現耀眼。林泠的詩最 早發表在《自立晚報》的《新詩週刊》，後來也發表在《現代詩》 季刊與《公論報》的《藍星週刊》，以及嘉義《商工日報》的《南 北笛》等； 1956 年間《現代詩》開始連載林泠的〈四方城〉以後， 她的詩便普遍受到重視，經常引起討論，例如張默在《六十年代詩 選．林泠小評》就說：「林泠是不同凡響的，她是我們這年代最秀 美的詩人。她的詩之特徵在於能以極流利之筆觸，將她對宇宙萬 事萬物所呈現的和諧的情態，很輕逸地表達了出來，同時更處處 1 林泠，《林泠詩集》 （臺北：洪範書店，1982 年 5 月）。 2 林泠，《在植物與幽靈之間》 （臺北：洪範書店，2003 年 1 月）。 3 該次討論會在 1982 年 9 月 28 日下午 3-6 時，於臺北太陽飯店 9 樓星星餐廳舉行；

參見向明整理，〈詩句織就的星圖 —林泠作品討論〉，《臺灣新聞報．副刊》 （1982 年 11 月 11 日及 11 月 13 日）。

第二章 不繫之舟— 林泠詩中的異國想像與女性意識

4

充滿著對自然、生命與愛情的玄想。」 周伯乃〈「四方城外」的林 泠〉，也對林泠的詩讚美有加：「林泠是屬於早熟型的天才，她的 詩洋溢著對自然的讚美，對人生的肯定，對愛情的玄想。」「林泠 的詩，給人最大的快感，就是它能具有一種諧和；一種音樂的節 5

奏。和一種令人悅樂的那種魅力。」 諸如此類的評論，都可看到詩 評家對林泠詩作的讚賞。 以楊牧為林泠寫的序來看，楊牧認為早期林泠的詩所探索的內 心，多集中於少女情懷，她擅長創造「私我神話」，有童話詩心的 特質，「以小精靈的世界推展出一個抒情詩的宇宙」，意象完整， 象徵圓融，音調變化自然，「為近三十年臺灣的現代詩決定了一種 不可忽視的抒情音色，從嚴謹中體會自然，於規律中見流動和轉 6

折」； 而 1980 年代以後的林泠音色如昔，但「語言更趨於成熟和堅 7

毅，充滿了抒情詩的自覺意識」。 這個特色也持續見於她 2003 年 結集出版的《在植物與幽靈之間》，因此該書的編輯者也盛讚林泠 表現了「在崎嶇中體會舒揚之美，收放之間自我超越」的藝術成 就。

8

楊牧所點出林泠詩中的少女情懷、私我神話、童話詩心、現 代抒情藝術等特色，都是眾所肯定與矚目的焦點，然而除了最後一 項係肯定林泠的創作藝術之外，林泠因為作品發表得早，臺灣現代 詩史對林泠的描述彷彿也就一直停留在「少女林泠」的印象中。楊 牧雖曾指出「在主題的取捨方面，林泠也未必永遠執著於少女的情 懷」，並以幾首詩為例，證明 1980 年代以後林泠所欲表現的「知性 4 張默，〈林泠小評〉，張默、瘂弦主編，《六十年代詩選》 （臺北：大業書局， 1961 年 1 月），頁 35。 5 周伯乃，〈「四方城外」的林泠〉，《自由青年》第 42 卷第 2 期（1969 年 8 月）， 頁 76-81。 6 楊牧，〈林泠的詩〉，林泠，《林泠詩集》，頁 1-16。 7 楊牧，〈林泠的詩〉，林泠，《林泠詩集》，頁 17。 8 參見林泠，《在植物與幽靈之間》摺口文字。據悉，洪範書店出版的詩集，都經

過楊牧親自校閱、點評，因此這也極可能是楊牧的意見。

51

52

思想的裙角— 臺灣現代女詩人的自我銘刻與時空書寫

和感性頡頏的自我」，以及「心思更加開朗明快，從眼前的世界向 曩昔投射，甚至嘗試着為她自己的詩底信念，以及生命底信念，展 示一段無畏的歷程。這種新風格是今天的林泠，是我們所樂於認知 9

的林泠」， 然而這一點卻為人所忽視，以致林泠在相隔二十年後出 版第二本詩集時，僅得到相當有限的迴響。

10

本 文 的 起 點， 在 於「 如 何 重 新 閱 讀 林 泠 」？ 在 少 女 情 懷、 愛 情、童話的印象之外，林泠的作品有無其他特色？林泠既然被稱譽 為早期傑出的女詩人，她的女性意識究竟如何？和她的詩人身分有 著怎樣的關係？以下將以「異國想像」和「女性意識」兩個層面切 入林泠的詩，加以探討。

二、林泠詩中的異國想像 林泠的作品以情詩居多，但其中所投射的視野極廣，可從愛情 投射人生哲理，因此受到許多人的喜愛。尤其這些情詩多寫於 1950 年代，當時林泠不過十七、八歲，正值其就讀臺大的時期（19541958），她以二十不到的芳齡，綻現這樣的詩才，確實使人驚豔。例

如〈阡陌〉一詩，主題可解讀成情人歷經短暫愛戀後分離，也可以 11

放大為人生的偶然邂逅，而後各奔前程。 林泠的作品大都具有這 樣的多義性，流露很個人的、私密的情感，但其語言卻很冷靜，主 題則充滿曖昧與不確定，符合現代情感的表現。 更特別的是，林泠在使用意象時經常以異國的景象為喻，甚 至是地球以外的太空宇宙，例如〈三月夜〉：「三月的冷峭已隨雲 霧下降了

12

三月的夜，我猜，是屬於金星的管轄」， 這使得她的作

9 楊牧，〈林泠的詩〉，林泠，《林泠詩集》，頁 18。 10 筆者曾撰寫書評〈生命的異象—林泠《在植物與幽靈之間》評介〉，《文訊》 第 212 期（2003 年 6 月），頁 22-23。此外，在同時間似未見有相關評論。 11 林泠，〈阡陌〉，《林泠詩集》，頁 44-45。 12 林泠，〈三月夜〉，《林泠詩集》，頁 40。

第二章 不繫之舟— 林泠詩中的異國想像與女性意識

53

品已然超越古典的、中國的情境，和傳統的情詩作品有很大的不 同。回顧她當時的創作環境 — 1950 年代的臺灣，經濟建設才開 始起步，尚未開放出國旅遊，此時期的林泠也還未出國留學，一般 人接觸外國相關事物的管道，大致取自教科書（外國歷史、地理 課本）、書報雜誌、月曆或其他廣電媒體。一段文字的敘述、一幅 畫、一部電影裡的畫面，或者是音樂作品，都可能引起人們的好奇 和想像，進而使其對該國家、城市與相關文化感到興趣。筆者尚無 法親自訪問林泠，了解她的外國知識從何獲得，但她作於 1952 年 的第一首詩〈流浪人—詩的第一首〉，即以「我多嚮往於你

吉

13

普賽的腳步」的句子寫下對吉普賽人流浪生活的憧憬； 而到外國 流浪，似乎也是當時臺灣年輕人常有的嚮往。林泠詩中對異國的描 摹，也許有幾分這樣的嚮往，但她獨到的藝術手法，使其作品意境 展現特別的情調。以下試著從這些作品整理出幾種類型。

（一）異國情境的迷與悟：流浪之路與賭城之夜 前 面 提 到， 林 泠 在 1952 年 就 已 經 發 表 她 的 第 一 首 詩〈 流 浪 人 — 詩的第一首〉。這首詩以「你」為訴說對象，藉吉普賽人 的形象烘托「你」在人生旅途中無盡的追尋以及箇中心情。吉普 賽（Gypsy）係一種流浪的民族，起源於印度，因初到歐洲時，英 人誤為埃及人（Egyptian ），故名。在歐洲各國都有不同稱呼法， 例如法國便稱之為波西米亞人（ Bohemians ）。吉普賽人的外型特徵 為身材短小、黃皮膚、黑髮、眼睛大而黑亮，其語言大部分由印度 語而來。西元第 9（另說 14）世紀自印度西北流入歐洲及北美，現 散處世界各地，尤以匈牙利、羅馬尼亞為多。以歌舞、卜筮聞名於 14

世； 「吉普賽人」因而成為流浪、自由、反工業文明的象徵。在林

13 林泠，〈流浪人—詩的第一首〉，《林泠詩集》，頁 150。 14 參見大衛．克里斯托（David Crystal）編，貓頭鷹出版社翻譯，《劍橋百科全書》 （臺北：貓頭鷹出版社，1997 年），頁 458。

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思想的裙角— 臺灣現代女詩人的自我銘刻與時空書寫

泠詩中，吉普賽人代表的是流浪、自由以及追尋自我的象徵。試引 其詩作如下： 我多嚮往於你 吉普賽的腳步 遲重的 卻伴着琴音 沙啞了的 在你折斷的琴弦上奔騰 煙 ， 年華 在你心底交織着無言的詩篇 唱不出 但 ， 那兒有無聲的飲泣…… 走不完的路 搖曳着黝暗的身影 青春的花朵揉碎在路旁 熱情及愛恨 塞在背後的行囊中 為的是 你再不願彈出歡笑 寂寞 ？ — 也許並不 心底 有你夢想的家園 腳底 有你故關的沙泥 祇是歲月把你的眼睛 染成了灰色 你 ， 仍舊在尋找

第二章 不繫之舟— 林泠詩中的異國想像與女性意識

那曾經失落了的 你自己底心 沒有眼淚 — 因為 你還有明天

15

從 第 二 段「 折 斷 的 琴 弦 」、「 無 言 的 詩 篇 」 與「 無 聲 的 飲 泣 」 等 句，可以感受到詩中「你」所受到的挫折和苦痛；第三段「走不完 的路」、「黝暗的身影」以及揉碎的青春花朵、塞滿熱情和愛恨的 行囊等句子和意象，也都可以感受到「你」所經歷的一切；但這一 切也都已經「不足為外人道也」，寂寞與否，恰恰是「如人飲水， 冷暖自知」。末二段透露，「你」的追尋是為了尋找「那曾經失落 了的

你自己底心」，而這個旅途並非絕望，而是仍然擁有希望的

「明天」。 這首詩雖是歌詠「流浪人」的生命情調，但詩的一開頭「我 多嚮往於你

吉普賽的腳步」，點明了這正是詩中「我」的自我投

射，因此雖然流浪人步履遲重，卻因為伴著沙啞的琴音，平添幾許 迷人的氣氛，所以「我」仍然非常嚮往；加上煙、詩篇、花朵、熱 情、愛恨等字眼，更增添詩意與滄桑感，使得「我」對這無盡的追 尋之路充滿了好奇與希望，所以認為流浪者「沒有眼淚

—因為

你還有明天」。究而言之，此時正值十四、五歲的林泠，她所嚮 往的吉普賽生活，並沒有限定在某個現實的疆界，反而是一種抽象 的心靈世界；而流浪、追尋、走不完的路、失落的心，詩中的層層 氛圍都和「吉普賽」這個異國異族的想像密切關聯。一個年輕的心 想要去流浪，想要去尋找失落的心，用「吉普賽」這個翻譯、外來 語加強、渲染流浪的浪漫感覺，最恰當不過。

15 林 泠，〈 流 浪 人 — 詩 的 第 一 首 〉，《 林 泠 詩 集 》， 頁 150-152。 詩 末 附 注

「一九五二年五月，寫於晨操之前。《野風》三十八期」。

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