邁耶的「米開朗基羅系列詩」：檢視雕塑藝術對「物詩」之啟發

C. F. Meyer's Michelangelo-Poems: ＂Dinggedicht＂ and Sculpture

「物詩」是十九世紀後半葉開始在德語系國家出現的一種詩歌形式，其特色為客觀與形象化地再現出一實「物」。又因其三位代表詩人當中，就有兩位——邁耶與里爾克—─的創作深受雕塑大師的啟迪，遂令人懷疑「物詩」欲仿傚雕塑藝術。本論文藉由分析邁耶四首以米開朗基羅本人及其作品為主題所寫作之詩歌及兩首「物詩」的經典代表作—─邁耶的〈羅馬噴泉〉與里爾克的〈豹〉—─來評斷此推測正確與否。研究結果顯示傑出的「物詩」確實與雕塑極為類似，其創作者也與雕塑家一樣致力於具象地呈現客體、揭露其內在的動態結構，並突顯能夠展現客體本質與精神之表情與手勢。「物詩」應當是不可見的雕塑，卻能在讀者／聽者的想像中形象化地重新加以塑造。

The Dinggedicht (＂Thing-poem＂) is a type of poetry that originated in the German-speaking world during the second half of the nineteenth century. In a Dinggedicht poem, a subject is objectively described and vividly represented. Such character of the Dinggedicht strongly suggests that this poetic form intends to imitate the sculptural art. The fact that Conrad Ferdinand Meyer and Rainer Maria Rilke, two of the three most famous Dinggedicht poets, were inspired by the masters of sculpture seems to further affirm the relation between the Dinggedicht and the sculpture. This article attempts to attest the supposition through analyzing C.F. Meyer's four Michelangelo-themed poems and two best-known ＂thing-poems＂-＂Der romische Brunnen＂ by C.F. Meyer and ＂Der Panther＂ by R.M. Rilke. The study shows that the best Dinggedicht have many similarities to a work of sculpture. Both the Dinggedicht poet and the sculptor work to depict the image of the subject, grasp its inner dynamical structure, and highlight the expressions and/or gestures that best convey the nature of the subject. A Dinggedicht thus should be considered an invisible sculpture to be represented through words and language in a reader/listener's imagination.