尋找終極的精神故鄉：楊牧文學觀中浪漫、現代、古典及傳統的融會

Towards a Poetics of Spiritual Homeland: The Merging of Romanticism, Modernism, Classicism and Traditionalism in Yang Mu’s Literary Thought

對於楊牧（1940-2020）作品的討論及研究大部分集中在其詩作，其次則是其抒情散文及社會文化關懷的散文，針對楊牧學術論著的討論（包括詩歌、小說及文學批評的學術著作）以及其與創作的關係，相對地匱乏。楊牧早期的作品充滿了浪漫主義（Romanticism）的抒情詩思，也顯現受到現代主義（modernism）思潮及技法的薰染，呈現一向為愛好者所稱揚的抒情性，以及對於技法構章的高度重視。然而在其背後也富含對於古典及傳統，如希臘的史詩、悲劇，中國的詩經、楚辭、文賦等的關懷及重視，且將此一對於古典的關懷融鑄到其創作的表現中，呈現出楊牧融貫古今中外的詩學／文學觀（poetics），希冀尋找一種已然消逝／淡薄，但仍值得景仰覓求的真善美的終極理想境界（poetic truth）。本論文將楊牧的學術關懷與其文學創作綰合，試圖梳理出楊牧文學思想中的終極精神故鄉的追覓。

Most of the discussion and research on Yang Mu’s (1940-2020) works focused on his poetry, followed by his lyrical essays and cultural writings. There is a relative lack of discussion on Yang Mu’s academic works (including poetry, fiction and literary criticism) and the relationship between author and works. The early works of Yang Mu were full of inclination towards Romanticism, coupled with his modernist and classicist concerns, gradually formed into a unique poetics of poetry and thought, permeating his creative compositions and literary thinking. However, it is also full of concern and attention to the classics and traditions, such as Greek epics and tragedies, Shijing, Chuci, Wenfu, etc., and the inspiration and ultimate concerns of this poetics come from and return to a long-existed, ever-growing, and ever-expanding spiritual homeland, a land of poetic truth, which has become the poet’s pursuit in his poetic life. This article will investigate how Yang Mu formulates and engages in this searching and its significance in literary history.