敘述的抽象化：論楊牧詩

Abstraction in Narrative On Yang Mu's Poems

「抽象的具象化」長期以來是研究者觀察詩人創作手法的要素。而楊牧一門獨闢，以抽象化的敘述，將個人的詩創作上接年輕時作品中的前生來世、迢遙幻境，下啟自己中、晚年詩作的終極關懷、哲學論辯。詩的「敘述性」，要義在於詩人在敘述表現上的特質。討論詩作的「敘述性」，含括詩人如何藉由場景描寫、敘述節奏，或心理闡發，在「說什麼」和「如何說」之間，或體現一種集體突圍，或表現面對生存的姿態。「敘述」無法外於「故事」，然而掌握敘述基調、吐露弦外之音，總在「故事」之上，產生豐厚的感知效果。本文就「聲音布置」、「互文」、「戲劇性再現」三方面，討論楊牧詩中以物事典故為背景的抽象敘述。

“Concretization of abstraction” has been used to examine poets' skill and technique. Yang Mu, however, distinguishes himself by the use of abstraction. His abstraction in narrative links the subjects of “afterlife” and reincarnation in the works of his earlier periods with the ultimate concern and philosophical meditation in the works of his late period. The focal point of poetical narrative reflects the poet's individual vision. This paper will discuss how Yang Mu depicts the scenes, delves into the psychological depth and treats the narrative “tempo” as expressed in “how” and “what”. With these aspects explored, the being of the poet is approximated. Although “narrative” rarely exists outside the story, and yet the overtone of narrative is superimposed upon the “story” and sounds in rich resonance. This paper will focus on “the display of sound,” the intertextuality and the dramatic recurrence in Yang-mu's abstract narration of the specific stories and events.