在荒地上發芽的嫩草：從詹冰詩看戰後初期台灣現代主義詩的重啟時刻

Young Grass Sprouting on the Wasteland: The Reboot of Taiwan Modernist Poetry in the Early Post-War Period through Chan Bing’s Poems

本文透過詩人詹冰1940年代的詩作，探討台灣現代主義詩如何跨越第二次世界大戰而「重啟」。在過去的台灣詩史中，戰後初期彷彿是夾在1930年代的風車詩社與1950年代的現代派之間「現代主義詩的空白期」。然而，我們可以從詹冰的例子看到事實並非如此。詹冰於戰前1940-1944年至日本留學時，即在日本的文藝雜誌《若草》上發表受到日本詩人堀口大學影響的詩作。戰後，他在1946-1948年的《中華日報》和銀鈴會《潮流》等報刊上，以知性的詩語探討「戰爭」與「死亡」等主題，可以說是與日本現代主義詩集團「荒地派」（及其所致敬的艾略特《荒原》）相當接近的詩人。本文以1940年代詹冰從戰前到戰後；跨越了日本與台灣發表詩作的經緯，探討詹冰在戰後初期重啟現代主義詩創作的意義與價值。

This paper explores how Taiwan modernist poetry was“rebooted”across and beyond the WWII through Chan Bing’s poems in the 1940s. In the history of Taiwan poetry, there seems to be a gap of modernist poetry in the early postwar period, caught between the Le Moulin Poetic Society of the 1930s and the Modernist Poetic Society of the 1950s. However, we can see from Chan Bing’s example that this is not the case. When studying in wartime Japan from 1940 to 1944, Chan Bing published poems influenced by Japanese poet Horiguchi Daigaku in the Japanese literary magazine Wakakusa (Young Grass). After the war, he used intellectual poetic language to explore themes such as“war”and“death”in newspapers such as China Daily and the Silver Bell Society’s Tide from 1946 to 1948. Therefore, he is considered a poet who is close to the ideas of the Japanese modernist poetry group Arechi-ha (Wasteland School, a group influenced by Eliot’s The Waste Land). Through Chan Bing’s poems published in Japan and Taiwan from pre-war to post-war in the 1940s, this paper explores the significance and value of Chan Bing’s reboot of modernist poetry in the early post-war period.