吳晟現代詩的死亡書寫

Death Writing in Wu Sheng's Modern Poems

吳晟2005年發表「晚年冥想」系列詩作，揭示了其對死亡的直視與思考，其實早在1970年代的吳晟詩作，就可看見死亡意象之運用。吳晟詩作的死亡意識是分階段的，最初是詩作使用死亡意象，但詩作主題並非死亡，接著嘗試探究死亡課題，而後更開展出「晚年冥想」系列，而「晚年冥想」又可分為面對自我死亡與悼念親友死亡，吳晟的死亡書寫無形中呼應了「鏡像理論」的進程，第一階段缺乏死亡意識，進入第二階段方意識到自我與死亡，最後階段對死亡的想法日益明確，同時透過他者確認自我。本文嘗試以拉康「鏡像理論」為概念，將吳晟現代詩的死亡書寫分成死亡意象運用、早期詩作死亡思考、晚年冥想的豁達、悼念詩四個面向，一探詩人的生命哲學。

In 2005, Wu Sheng published a series of modern poems in the ''Meditation in Old Age'' series, expressing his direct vision and thinking on death. In fact, in the earlier 1970s, Wu Sheng’s modern poems had the phenomenon of death writing. There are different stages of death consciousness in Wu Sheng’s modern poems. In the beginning, Wu Sheng’s modern poems used the image of death, but the theme was not death. Next, he tried to discuss the subject of death. Later, he began to create the ''Meditation in Old Age'' series. ''Meditation in old age'' can be divided into facing the death of oneself and mourning the death of relatives and friends. Wu Sheng’s death writing echoes the progress of the ''mirror theory''. There is no death consciousness in the first stage. The second stage begins to understand the relationship between self and death. In the final stage, he became more and more aware of the idea of death, and at the same time he understood himself through the other. This article uses Lacan’s ''mirror theory'' to divide Wu Sheng’s modern poetry into four aspects: the use of death images, the thinking of death in early poems, the generous of meditation poems in his later years, and the poems of mourning. It also analyzes the poet’s philosophy of life.