思想的裙角 by National Taiwan University Press

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

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

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

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

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

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〉

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》。

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。

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

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。

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。

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。

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

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

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

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。

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

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」。