當代中國「第三代詩」的抒情性——以柏樺、韓東為討論對象

Lyricalness in 'Third-Generation Poetry' on Contemporary China: Bo Hua and Han Dong

第三代詩在當代中國詩壇裡作為具有先鋒意識的群體，過去的論述多著重口語、日常、敘事等詩歌概念，隱蔽或擱置了這些概念底下深刻的抒情性。本文以此為論述基點，擇取柏樺、韓東兩個重要的詩歌案例，試圖重新詮釋第三代詩的抒情表現。全文由三個部分組成：首先是後英雄主體與抒情關係的辯證，指出第三代詩的抒情自覺；其次是具體觀察韓東、柏樺同樣在後英雄主體狀態下，如何發展出風姿各異的抒情模式；最後討論後現代情境下，抒情如何與反諷結盟，顯示抒情的多重層次。經由這三個部分的討論，本文發現，第三代詩表明一個「小」時代的到來，他們的抒情樣貌多變，對應於當代中國社會生活的複雜狀況；在一般關注的先鋒意識之外，他們同時也更新並深化了現代漢詩與抒情的關係。 Third-generation poetry is a group with pioneer awareness in contemporary China poetry society. Previous discussions stress on some concepts such as colloquial, ordinariness, and narrative. At the same time, deep lyricism is hidden. This article focuses on their lyricalness by taking two important poets, Bo Hua and Han Dong. It tries to reinterpret the lyrical performance of third-generation poetry. This article consists of three parts. First, we argue the relation between the post-hero subject and lyricalness and point out lyrical consciousness of third-generation poetry. Second, we observe how Han Dong and Bo Hua develop unique lyric patterns under post-modern situation. Third, we discuss how to combine lyric with irony to show its multiple levels in post-modern situations. The article points out that third-generation poetry indicate the arrival of a ＂tiny＂ time. Their lyrical and varied appearances correspond to the complex living environment in contemporary China. In terms of lyric vision, they updated and enhanced the relationship between modern Chinese poetry and lyricism.