詩化的現實─八○年代以來詩的現實美學

Poetics of Reality–Toward the Aesthetics of Taiwan Modem Poetry

台灣現代詩到了八○年代之後，在現實的課題上，展現了額外的深度。大部分的好詩不像五、六○年代以遊戲式曲折的隱喻，或是以超現實的書寫規避現實；也不像七○年代，以煽情與吶喊作為對現實的反應與情感的抒發。雖然有些詩仍然在做前衛的戲耍，有些詩仍然在延續「議論式」的傳承，但在詩史上值得銘記的好詩，是語言和現實的辯證，是現實與想像的拉扯，而想像是以現實為立足點。詩中人觀點的轉移造就了美學的距離。意象「發現」與「發明」的交織，成就了豐富的美學天地。

Since about 1980s, Taiwan modem poetry has displayed its aesthetic depth in the treatment of reality. Unlike poetry in 1950s and 1960s, most good poems are no longer indulged in plays of double-twisted metaphor. Also, unlike 1970s, they no longer reduce themselves to propaganda-like treatise or emotional outburst of sentimentalism. Although a few poems still bury themselves in surrealistic avant-garde games and a few of others still follow the footprints of discursiveness, those which inscribe themselves in literary history are nourished from the dialectic of language and reality and rise from the tug-of-war between reality and imagination. Poets realize that imagination is based on reality, that the rightful shift of the speaker's point-of-view can create rightful aesthetic distance. Poets with appropriate interplay of images of “discovery” and “invention'' can enhance the aesthetics of their poetry.