「波特萊爾」的傳播與臺灣現代詩論戰（1954-1960）

The Spread of “Baudelaire” and the Controversy of Modern Taiwanese Poetry(1954-1960)

1956年，紀弦成立「現代派」，他將波特萊爾視為現代詩「橫的移植」的典範。「波特萊爾」之名，因而形成論戰焦點，涉及詩的本質論、創作者的人格風格以及詩、散文的辨體問題。本文從「詩的創作典範模習」，檢視1950年代詩壇對於「波特萊爾」之譯介傳播與爭論。「波特萊爾」作為論戰之「焦點」與成為「評價語」，從辨體的角度，區判了詩與散文以及新舊詩之別，其差異處不在於可辨的「形變」，而在於根本的「質變」。波特萊爾之「敗德」又因為與當時詩壇之民族型精神相悖，故在譯介過程，紀弦、尉天驄皆做了若干的清潔轉化與在地詮解。此外，在詩的藝術性與仿效方面，特別著重在波特萊爾詩的交感與音樂性，尤其是〈異邦人〉中的雲意象以及〈交感〉之通感書寫。

Ji Xian proposed “modernism” in 1956. He saw Baudelaire as a model of “transverse insertion” for the new poetry. “Baudelaire” became a typical style, often mentioned in discussions related to the essence of poetry, the author's personal style and the distinction between the styles of prose and poetry. Based on the “Model and Practice of Poetry Creation”, this article examines the translation, introduction, and controversy of “Baudelaire” in the poetry world of the 1950s.
“Baudelaire” was the “focus” in these debates and was used as “evaluative language”, in accordance to which differences between modern poetry and prose, as well as old and new poetry were discussed. They were found to lie not in “deformation” but in “qualitative change”. In addition, on the subject of personal style, since Baudelaire’s “bad virtue” contradicted the national spirit of poetry at that time, Ji Xian and Wei Tiancong made some transformations and adapted interpretations in the translation process. Furthermore, in analyzing the artistry and imitation of the poem, special emphasis is placed on the resonance and musicality as seen in the cloud imagery used in the “Stranger” and the synesthetic writing typical for “Resonance”.