新批評與現代詩：以顏元叔為聚焦

New Criticism and Taiwan Modernist Poetry: the Case of Yen Yuang-su

早期的現代詩批評大抵是以主觀的印象式批評為主，而第一個具有相對完備的理論並且講求方法的文學批評，是始於顏元叔在六○年代末期所提倡的「新批評」。新批評的崛起不但與文學教育的建制化息息相關，同時也使得文學批評最終成為學術殿堂裡的專屬事業。雖然新批評在七○年代逐步獲得主流的位置，但隨著社會的日益複雜、現實視野的擴展以及紛繁多樣的理論進入文學場域，新批評很快地失去了批評的主導位置而盛況不再。儘管如此，新批評的方法卻早已深入文學教育之中，其影響至今不衰。因此，本文以新批評在臺灣現代詩場域的傳播與實踐為主題，並將討論的重點指向在新批評的引介上起著重要作用的顏元叔。論文的前半主要鋪陳英美新批評的源起與發展，繼而觀察新批評在臺灣五○到六○年代的傳播概貌；後半則著力於分析顏元叔的新批評，探討其在實踐過程中是否產生了怎樣的適應與變化，而這對現代詩又是有著怎樣的限制與可能性等問題。

Compare to the development of modernist poetry, its criticism made only slight progress until the introduction of New Criticism to Taiwan by scholars and critics. The rise of New Criticism coincided with the institutionalization of literary education in universities, which resulted in literary criticism becoming a more academic profession. Not long after New Criticism became dominant in the 1970s, a new wave of literary and critical theories from the West started flooding into Taiwan’s literary field. New Criticism seemed to be declining, but the methodology of New Criticism prevailed in the literary education and had much influence on poetry. Therefore, in order to understand the development of Taiwanese literature, particularly modern poetry, it is necessary to understand how New Criticism was introduced and practiced. By tracing the trajectory of New Criticism’s development in Taiwan, and particular the focus on Yen Yuang-su, this paper aims to analyze how New Criticism interacted with modernist movement, and to look at how it influenced Taiwan’s modernist poetry as well as the contradictions it involved.