造心景，抑或安天命？論劉大任《園林內外》中的園林觀與書寫特質

Engaging by Heart? Or Resigning to Fate? : Discussion on the Writing Features and Horticultural Concept in Liu, Da-Ren's Yuan Lin Nei Wai

對於台灣自然相關文學的研究，我始終認為相關研究尚有幾個領域可待拓展：一是對自然導向文學、自然書寫、環境書寫相關詞義的再釐清，二是以臺灣戰後小說及詩文本為對象，持續探索這些文本潛存的「環境倫理觀」，三是對於特定環境或地景的書寫意涵進行探討，第四則是對原住民族漢語文學中的自然意識進行討論。本文是第三個議題的延續性探討。 劉大任是台灣頗為重要的海外小說家、散文家，除此之外，他也是一位投入的運動迷、業餘的園藝家。早期《薩伐旅》中的園藝相關書寫，更是台灣此類作品的先驅。本文透過二○○六年綜合《薩》書舊作與新作所成的《園林內外》一書，分析劉大任所提出的「園林書寫」的意涵，及該書所透露出的園林觀。讀者當可發現劉大任陳述自己二十餘年來造園與種植的經驗，一面療鄉愁、敘天倫、憶老友、藏記憶外，尚潛存著他所思考、傾向的「園林觀」── 一種「各適其性」的種植法。而這其後隱隱有著一個他早年已存在的，更為宏觀的生態觀，那就是在園林之外，人類或者也應反省生態殖民與生態改造，讓人造園林能與自然對話，生物各安其位。 透過對《園林內外》的解讀，本文不僅意在進行自然導向文學研究的「補遺」，也在窺見一位獨特作家的生態觀、表現形式，提供台灣生態批評的另一扇視野。

To the study about nature-oriented literature in Taiwan, I have always believed for the past several years that there are some fields waiting to be developed: first is to clarify the definition of nature-oriented writings, nature writing, and environmental writing. The second is to use Taiwanese postwar novel and poetry as research subject and continue to explore hidden “nature consciousness” in text, the third is to investigate writing meanings in specific environment and landscapes, the fourth is to discuss nature consciousness in Native Taiwanese Han language literature Han language writings. This is a preliminary study for the third topic. Liu, Da-Ren is an important overseas novelist and essayist of Taiwan; besides, he is also a devoted sports fan and an amateur horticulturist. The related horticulture writings in his early work, Safari, are even praised as the pioneer in Taiwan. This essay analyzes the implication of “Horticulture Writing” addressed by Liu, Da-Ren and the garden concept through combining Safari and Yuan Lin Nei Wai (2006). Readers could find out that Liu, Da-Ren not only cures his homesickness, talks about his family, recalls his friends by portraying his experiences in landscape gardening and planting over twenty years, but he also considers about his own “Garden Culture Concept”--a planting way of “each in its proper place.” Behind this conception, there is a more macroscopic eco-concept which has existed from his early years. That is, outside the garden, maybe human beings should also reflect upon Eco-Colonialism and Eco-Transformation, and let artificial gardens talk with nature, let each creature be in its proper place. Through the analysis upon Yuan Lin Nei Wai, this essay in one way carries the “lost” out in Nature-Oriented Literature, and in another way catches a glimpse of the eco-concept and forms of expression of a unique writer. Thus, this essay opens another window and another view for Eco-criticism in Taiwan.