宮澤賢治〈悍馬〔二〕〉的生成——從「觀察」到「回應」的詩學

Miyazawa Kenji, The Genesis of ''Wild Horse [II]'': From Observation to a Poetics of Response

本稿嘗試將宮澤賢治自由口語詩〈悍馬〉走向文語詩〈悍馬〔二〕〉的生成過程，重新定位為詩人創作態度由「觀察」向「回應」進行倫理轉向之必然結果，而非僅止於文體上的洗鍊。本文透過草稿分析揭示其動態生成的軌跡，特別指出作品中人物封介的批判性發話—作為「他者之聲」的導入—成為解構詩人特權化「觀察者」位置的決定性契機。為了回應這一問題，詩人最終選擇了文語定型詩之凝縮形式，並非以說明性的方式加以消解。毋寧，透過將其作為象徵而沉潛於共同體的神話性的時空之中，以新的詩學實踐回應此一難題。

This paper reconsiders the evolution from Miyazawa Kenji's colloquial poem ''Wild Horse'' to the classical-diction poem ''Wild Horse [II]'' not as a mere refinement of style, but as the inevitable outcome of an ethical shift in the poet's stance—from observation to response. Through an analysis of drafts, the study traces this dynamic trajectory and shows that the critical utterance voiced by the character Hōsuke—an instance of the ''voice of the Other''—served as a decisive intervention that dismantled the poet's privileged position as observer. The ultimate choice of a condensed fixed-form poem in classical diction did not seek to resolve the ethical impasse by explanatory means. Rather, it enacts a new poetics that responds to the impasse by submerging it, as a symbol, within the community's mythic spatiotemporal field.