原生、返鄉與途經──台灣現代詩農村書寫的三種對映

關於台灣現代詩中的農村書寫，或是稱之為農村詩，在現代詩研究中，多集中在吳晟等詩人的研究中，探討詩人（同時身為農人）對於台灣農村變遷的思辨與批判，或是以詩紀錄傳統農漁村文化的流失與破壞，然而這些年來，我們可以看到青農返鄉回歸土地，各地農夫市集與小農作物傳達的多元價值。以及都市青年途經農村的參與和對話，各種關於農村的活動與議題也方興未艾，更多的詩人透過地誌書寫或是農村書寫，進行各種反省與思考。在這些詩作當中，其實兼含了三種書寫身份，一是原本就在地，且原生於農村的詩人，譬如前述提及的吳晟；另一種則是從外地返鄉的詩人，未必進入原鄉直接從事農村的工作，但卻因為返鄉定居的緣故，開始透過各種方式關心自己家鄉的農村，用詩書寫農村的生活與記憶；另一種則是外地的詩人，因為各種原因（旅遊或是短居等）的緣故，與台灣的農村產生聯繫，進而書寫農村，譬如葉維廉的〈台灣農村駐足〉，以詩書寫農村的景觀與風貌。而上述三者的農村書寫，必然有相異之處，原生詩人的在地性與「根」的思維，返鄉詩人對於城／鄉的對照與批判，途經者的外來印象與景觀的紀錄，其實各有其側重點與關懷的層次，一起共同構築了台灣農村的變貌，筆者希望能夠透過本文的論述，深入分析台灣現代詩中農村書寫的各種脈絡與變化。

Regarding the rural writing in Taiwan’s modern poems, or so called rural poems, in modern poetry research, most of the studies in modern poems focus on the research of poets such as Wu Sheng, discussing the poets (as farmers at the same time) thinking about the changes in Taiwan’s rural areas Criticism or poems may be used to document the loss and destruction of traditional farming and fishing village culture. However, over the years, we can see young farmers returning to their hometowns to return to the land, and the diverse values conveyed by farmers' markets and small crops in various places. As well as the participation and dialogue of urban youth through the countryside, various activities and issues about the countryside are also in the ascendant, and more poets conduct various reflections and reflections through writing on topography or writing on the countryside. In these poems, there are actually three kinds of writing identities. One is a poet who was originally in the land and was born in the countryside, such as Wu Sheng mentioned above; the other is a poet who has returned to his hometown from another place and may not have entered his hometown. Directly engaged in rural work, but because of returning to settle down, he began to care about his hometown’s rural areas in various ways, writing rural life and memories with poetry; the other is poets from other places, because of various reasons (travel or short-term reasons). For the sake of Ju, etc., it has a connection with the rural areas of Taiwan, and then writes the rural areas. For example, Ye Weilian’s ''Stay in the Rural Areas of Taiwan'', writes the landscape and style of the rural areas with poems. And the rural writings of the above three are bound to be different, the native poet’s locality and ''root'' thinking, the return home poet’s comparison and criticism of the city/country, the foreign impressions and landscape records of the passers-by, In fact, each has its own emphasis and level of care, and together they have jointly constructed the distortion of Taiwan’s rural areas. The author hopes to use the expositions in this article to deeply analyze the various contexts and changes of rural writing in Taiwan’s modern poems.