修辭與修辭的超越：以廢名一九三○年代詩作為例

Rhetoric and the Transcendence of Rhetoric in 1930’Poems of Fei-Ming

廢名（1901-1967，馮文炳）是現代詩禪詩一派的創始者，也是現代詩中的哲理詩的大家；他是現代詩中現代派的祖師，也是傳統意境派的古典詩的當代薪傳，他一人成就了現代詩早期發展史的這四個方面，相當獨特。本文重新檢視廢名藝術創作方法與美學特質，闡明它在吾人理解現代詩早期歷史與建構現代詩美學上的深刻含意。筆者此文首先對廢名詩作從事文獻以及評論史之中的的考察（第一節）。繼而在第二節與第三節之中，筆者從修辭到超越修辭的兩個角度及其間的張力，來考察廢名的詩作，從境界美美學的觀點，闡明廢名詩作之中的「物象的折射」、「意象的韻味」、「哲理的境界」三個角度互相交涉的詩學。在第四節之中，從修辭到超越修辭二者之間的張力，來探討廢名詩作之中的境界創生的過程，釐清從修辭到修辭的超越的過程，並回應德哲海德格詩學之中所說的貧困時代的詩人的課題。

Fei-Ming is one of the most important writer of the early period of the history of the new literature of modern Chinese. He is famous not only for his founding of the style of modernism of Chinese new poem but also for his initiation of the modern Zen poem. This article tackles the topics of the rhetoric and the transcendence of rhetoric in 1930’Poems of Fei-Ming in order to exposits the aesthetics of Fei-Ming's modern Zen poem and to illuminate the inner reason of the success of his initiation of the modern Zen poem.