試論王宗仁散文詩中的延續與突破

On the Continuation and Breakthrough in WANG, TSUNG-JEN's Prose poetry

本文嘗試將王宗仁散文詩的突破，放回從台灣散文發展歷程當中理解，來確認王宗仁在散文詩發展歷程當中的獨特位置。台灣散文詩由於特殊的歷史時空背景，經由商禽奠定了超現實寫法之後，由蘇紹連與渡也延續，並發展為驚心模式，成為台灣散文詩的重要標記，而第三代的散文詩人們，則必須反叛這樣的模式，開創自己的風格。王宗仁勇於挑戰散文詩較為忽略音樂性的慣性思考，在內容中積極導入聲音與無聲的描寫，讓讀者透過閱讀也能喚起聲音的心理印象，而對仗排比以及安排韻腳的則將音樂效果帶回散文詩中；其次，台灣散文詩從商禽奠定基本風格之後，抒情成為較罕見的寫法，王宗仁則大膽實驗寫抒情散文詩，到了《詩歌》則是綜合音樂與抒情的寫作策略為一體，並且與流行音樂歌詞對話，完成了獨具意義的九十首作品。

This paper attempts to reinterpret the breakthrough of WANG, TSUNG-JEN's prose poetry from the development of Taiwan's prose to confirm WANG, TSUNG-JEN's unique position in the development of prose poetry. Due to the special historical space-time background, Taiwan's prose poetry have been surrealistically written by SHANG, CHIN(LO, HSIEN-CHANG), continued by SU, SHAO-LIEN and TU, YEH(CHEN, CHI-YU) and then developed into a thrilling mode, which is an important symbol of Taiwan's prose poetry. However, the third generation of prose poets must rebel against this model and create their own style. WANG, TSUNG-JEN is brave enough to challenge the inertia thinking that prose poetry prone to ignore the musicality. In the content, he actively introduces sound and silent description, so that readers can evoke the psychological impression of the sound through reading. In addition, the pair, parallelism and rhyme arrangement brings the musical effect back into the prose poetry. Secondly, after Shang Qin laid the basic style of Taiwan's prose poetry, lyricism became a rare genre of prose poem. WANG, TSUNG-JEN boldly wrote lyric prose poetry. His Poetry is a combination of music and lyrical writing strategies. He also has dialogue with popular music lyrics and completed 90 prose poetry with unique significance.