伏流，重寫與轉化──試論1950年代的鄭愁予

Fugue, Rewriting and Transformation: On Zheng Chouyu in the 1950s

本文擬以鄭愁予為對象，討論他作為臺灣戰後第一代的重要詩人之一，如何成就《夢土上》的精純與美好，宣告了現代抒情詩的誕生。在具體的研究進路上，則依照「顯隱交織」的理路，同步考量「中國抒情詩潮」及「臺灣現代派運動」對他的影響。經由較細密的歷史考索與美學分析，我們發現：就表層而言，《現代詩季刊》之創刊（1953年2月）與「現代派」之成立（1956年1月）皆為重要的外在機緣，有助於其詩藝之突破與升級。就底層而言，他的詩創作自有一條內在理路，緣自1930、1940年代的大陸詩潮的沾溉，構成其語言風格與抒情質素。前者固然為催化劑，促使他的抒情路數更加果敢地朝向現代；後者則為基本素材，早已奠立「融現代與抒情於一爐」的契機。

This article analyzes how one of the most important poets in Taiwan after World War II, Zheng Chouyu 鄭愁予, created purity and beauty in his work ＂In Dreamland 夢土上,＂ and heralded the advent of the modern lyric. Specifically, I examine how Zheng was influenced by both trends in Chinese lyrics and the Taiwan Modernist School movement. Through detailed historical research and aesthetic analysis, I show how the first issue of Modern Poetry Quarterly 現代詩季刊 (February, 1953) as well as the establishment of the ＂Modernist School＂ 現代派 (January, 1956) helped Zheng achieve a breakthrough and improve his poetic skills. In addition, the nature of Zheng's poems was influenced by poetic trends from China during the 1930s and 40s, which he consulted in the construction of his poetic wording and lyrical style. The former encouraged him to modernize his lyrical techniques, while the latter served to initiate the integration of modernity and lyrics in his works.