四種長詩的可能：從洛夫、簡政珍、陳克華、林燿德的長詩創作探索起

The Four Possibilities of Long Poems: Approaching Lo Fu, Cheng-chen Chien, K'o-hua Ch'en, and Yao-te Lin's Ideas of Long Poems

中文現代詩的長詩創作，近年來頗有更新。本文嘗試從六個面向來探索中文現代長詩的可能拓展：意象的稠密度、現實的虛實指涉、意象的環扣、文類的跨越、詩的說話者、互植的文本。且集中在八○年代以來，四位創作了長詩而顯出特癖性的詩人：洛夫、陳克華、簡政珍、林燿德。他們提供了四種長詩的可能路線。陳克華的超時空處理結合了抒情敘述，林燿德的文類跨越及文本互植帶動了敘述。洛夫在敘述的順時性下，用比喻與象徵的手法處理意象，簡政珍使意象與瞬間互相結合，造成多重時空的互跳互轉。

The creative act of modern Chinese long poems has been in new shapes for the past few years. This thesis has attempted to explore the future possibilities of modern Chinese long poems from six aspects: the density of imagery, the pseudo and actual ways of the indication of reality, the chain of images, the overlap of genres, the speaker of a poem, and the interweaving of texts. Four poets who have offered some idiosyncratic ideas in their long poems since 1980 serve as the focus of the present discussion: Lo Fu, K'o-hua Ch'en, Cheng-chen Chien, and Y ao-te Lin. They have contributed significantly to four approaches to long poems. K'o-hua Ch'en combined the reality beyond time and space with the lyrical narration; Yao-te Lin used both the overlap of genres and the interweaving of different texts to further his narrative force; Lo Fu set, figuratively and symbolically, the images in the narrative chronological flow; and Cheng-chen Chien so juxtaposed the images and the moments as to make certain inter-leaps within multi-dimensional realities.