從葉珊的文學軌跡與轉折，觀察一九五—六○年代臺灣「詩現代化」進程的問題

Examining the Progress of 'Modernization of Poetry' in Taiwan during the 1950s and 1960s through the Literary Trajectories and Transformations of Ye Shan

"楊牧（1940-2020），花蓮人，本名王靖獻，早年筆名葉珊，為「戰間世代」詩人。高中時期（1955）即參與由陳錦標主編的《海鷗》詩刊，借《東台日報》副刊發行，這應是葉珊最早的文學起點。1958年，北上。因而認識，如吳望堯、余光中、夏菁、葉維廉、周夢蝶、瘂弦、洛夫、商禽等「現代派」詩人群，彼此形成一個有力的文化圈網絡，而共同參與「詩現代化」的進程。1959年，葉珊進入東海大學就讀。學院中的文學陶養讓他對英國浪漫派詩人濟慈（John Keats，1795-1821）醉心，同時受業於徐復觀、接受中國古典文學及思想的薰陶，因此游藝於東／西方文學之中。1964年，他至美國求學，期間師事陳世驤而受中國文學「抒情傳統」的啟發，擺盪在臺美兩地及「他者」與「自我」之間，重新在中國／西方的文學傳統中，鍛鑄現代詩的新精神及新方法。同時，他也檢視反思臺灣詩壇「虛無」的詩風，重建一條自己的詩路。因此，葉珊一九六〇年代後期，開始轉變並省思自己詩的寫作，其中不單是美學風格的變化，更是臺灣詩壇「詩現代化」及文學史敘事的問題。此一歷程，顯映臺灣一九五〇、六〇年代「現代詩」的發展進程，它是如何演變與實踐？何以它促使了1964年本土詩社「笠」成立，繼之1972-73年，引來沸沸揚揚的「現代詩」論戰？此一反思，可以更精確爬梳，戰後臺灣「現代詩」早期的發展過程，避免統稱式的論述框架，而能進入並貼近文學史的敘事脈絡中。

 

"Yang Mu (1940-2020), born in Hualien and originally named Wang Jing-xian, initially wrote under the pseudonym Ye Shan. He was a poet of the “Interwar Generation.” During his high school years in 1955, he participated in the poetry journal “Haiou,” which was edited by Chen Jinbiao and published as a supplement to the “Dong Tai Daily.” This was likely Yang Mu’s earliest involvement in literature. In 1958, he moved to northern Taiwan and consequently came to know “modernist” poets such as Wu Wangyao, Yu Guangzhong, Xia Jing, Ye Weilian, Zhou Mengdie, Yaxian, Luo Fu, and Shang Qin. Together, they formed a powerful cultural network and collectively engaging in the process of “modernizing poetry.” In 1959, Yang Mu enrolled at Tunghai University, where he received literary cultivation. He had a particular affinity for the English Romantic poet John Keats (1795-1821) and was influenced by Chinese classical literature and thought under the guidance of Xu Fuguan. Consequently, he straddled Eastern and Western literature. In 1964, he went to the United States for further studies. During his time there, he studied under Chen Shihuang and was inspired by the Chinese literary “lyric tradition,” oscillating between Taiwan and the United States, and the dynamics of “self” and “other.” This allowed him to forge a new spirit and new approach to modern poetry within the Chinese and Western literary traditions. Simultaneously, he reflected on and reevaluated the “nihilistic” poetic style prevalent in the Taiwanese poetry scene, carving out his unique poetic path. As a result, in the late 1960s, Yang Mu began to transform and critically examine his poetic writing. This transformation encompassed not only changes in aesthetic style but also questions regarding the “modernization of poetry” in the Taiwanese poetry scene and the narrative of literary history. This process illustrates the developmental journey of “modern poetry” in Taiwan in the 1950s and 1960s, how it evolved and was practiced, and how it led to the establishment of the native poetry society “Li” in 1964 and the subsequent intense “modern poetry” debates in 1972-73. This reflection allows for a more precise delineation of the early development of “modern poetry” in post-war Taiwan, avoiding broad strokes in discourse and bringing us closer to the narrative context of literary history.