論利玉芳詩的自畫像：以動物、植物為例

On the Self-Portrait of Li Yufang's Poem: Take Animals and Plants, for Example

本文關注客家女詩人利玉芳的詩作，討論詩作所涉及的意象與自我比況的關聯，有可能是身體的、情感的、或是部分人格的顯或隱，這樣的研究視角筆者定名為「自畫像」。關於利玉芳自畫像的現代詩作眾多，例如〈含羞草〉一詩比況女性詩人自己的身體型態，且對自我與含羞草有一定的連結；〈子宮樹〉以「身體、女性、自我」為三角命題，牽連詩人的自我身分與身體意識；〈貓〉則牽涉詩人內在的心靈投射，更是另一種政治的比喻。以上舉例的這些詩作，從物象到詩人自身，都有或深或淺的關係。而筆者希望能建立「自畫像」的詩學概念為一種研究角度，並深入詩人詩心的創發與自我形象的倒映與展現，從詩中之形、像解析詩人的遠望、陰影、游移、深沉之心等。本文借助意象學等相關理論為研究方法，以動物、植物像為例，窺探利玉芳詩中的自我意旨與內在核心，析能拓展一個不同的詮釋視角。

This article focuses on the poems of hakka poetess Li Yufang, and discusses the correlation between the image involved and the self-comparison situation in the poems, which may be physical, emotional, or partial explicit or hidden personality. From this research perspective, the author named it “self-portrait”. There are many modern poems about Li Yufang's self-portrait, such as the Mimosa, the physical shape of the female poet, and the connection between the self and the mimosa; the triangle propositions of body, woman and self involve the poet's self-identity and body consciousness; the cat involves his inner spiritual projection, which is another political metaphor. The poems cited above, from the material image to the poet himself, all have a deep or shallow relationship. The author hopes to establish the poetics concept of “self-portrait” as a research Angle, and go deep into the creation and development of the poet's poetry and the reflection and display of self-image, from the shape of the poem, such as the analysis of the poet's vision, shadow, wandering and deep heart. With the help of imagery and other related theories as research methods, this paper takes animal and plant images as an example to explore the self-intention and inner core of Li Yufang's poems and expand a different interpretation perspective.