魔鬼詩人：施明正詩作研究

The Devil Poet: A Study of Shi Ming Zheng’s Poetry

施明正集詩人、小說家與畫家於一身，既往研究多以小說為核心，並在「政治受害者」的框架中加以闡釋；然而其詩作長期少有論述。本文將視野轉向詩，嘗試脫離「受難者」的單一角色，恢復他的浪蕩子面貌。在研究路徑與方法上，本文將施明正置回1950–1960年代波特萊爾在臺的傳播史，檢視紀弦所推動之「淨化式」轉譯所遮蔽的敗德書寫，藉此勾勒施明正在現代詩史中的位置。細讀詩作之後發現，施明正慣以肉身作為詩意的淵藪，使污穢、性愛與禪意相互纏織：施明正是詩壇的「變奏者」——以本土語調重奏波特萊爾的陰暗面，可視為波特萊爾的在地實踐者。

Shi Ming Zheng was simultaneously a poet, novelist, and painter. Previous scholarship has centered on his fiction and interpreted it within the frame of a“political victim,”while his poetry has long remained under-discussed. This article therefore turns to the poems, seeking to move beyond the singular role of“the victim”and to restore his persona as a wayward drifter. Methodologically, I relocate Shih within the history of Baudelaire’s reception in Taiwan during the 1950s–1960s and examine how Ji Xian’s“sanitizing”translational program occluded a writing of vice, thereby sketching Shih’s place in the history of modern poetry. Close readings show that Shih consistently treats the body as the wellspring of his poetics, interweaving impurity, eroticism, and Chan inflections. Accordingly, I argue that Shih is a“composer of variations”on the Taiwanese poetry scene—reprising, in a local idiom, the darker register of Baudelaire’s reception in Taiwan—and a localized practitioner of Baudelairean poetics.