論向陽十行詩與臺語詩的人間關懷

The Human Care of Xiang Yang's Ten-Line Poetry and Taiwanese Poetry

詩人向陽從大學開始，即形塑出「十行詩」與「母語詩」兩大鮮明的特色，向陽自言，兩類作品分別代表著「文化中國」及「地理台灣」對他的影響。看似殊相的兩條路其實都源於詩人對台灣母土的關懷，《十行集》以景寓人，《土地的歌》（後更名《向陽臺語詩選》）以小人物寫社會，創作的出發點都是生活、都是人間。其實在向陽現代詩中，人物一直具有舉足輕重的位置，不管是《十行集》，還是後來的詩集《亂》，我／我們、你、他等人稱代詞，都經常出現，在《土地的歌》裡，「家譜篇」更是直接以人物當詩題。觀察《十行集》，詩中常見山、水等自然意象，而這些意象又與人密不可分，《土地的歌》前半部聚焦於鄉里，後半部以都市為核心，人物同樣扮演著關鍵角色，本文嘗試以向陽十行詩與臺語詩為研究對象，一探向陽從「人間愛」出發的創作觀。

Since college, the poet Xiang Yang's writing feature is Ten-line poetry and Taiwanese poetry. Xiang Yang once recounted that these two poems represent the influence of “cultural China” and “geographical Taiwan” on his writing. The two seemingly completely different writing attitudes actually represent the poet's love for the land of Taiwan. Ten-line Poems describes people in the scenery, song of the land (later renamed Anthology of Taiwanese Poems by Xiang Yang) describes people in society, both descriptions express life attitude. In Xiang Yang's poetry creation, the theme of “people” has always been important. In Xiang Yang's writing, whether it is Ten-line Poems or Chaos, personal pronouns often appear, such as: I/We, You, He. In the “family tree chapter' of song of the land, the “people” is directly used as the title of the poem. In Ten-line Poems images of mountains and water often appear, and these images are inseparable from people. The first half of song of the land is rural, and the second half is urban. “People” play an important role in both writing themes. The research object of this article is Xiang Yang's Ten-line poetry and Taiwanese poetry, in order to gain an in-depth understanding of the love of the human world in Xiang Yang's writing.