論譬喻中“喻解”表出之位置－以余光中新詩為考察對象

本體和喻體的相似點就是「喻解」，喻解可說是譬喻的靈魂，因此，喻解出現在哪一個位置，就關涉到這個譬喻是如何被「喚醒」的，也因此，不同的出現位置代表著一種不同的「喚醒」方式。余光中號稱現代詩壇祭酒，其新詩作品中出現的譬喻修辭既多且精，本論文即以余光中新詩作為「喻解」表出位置的考察對象。經考察後發現：當喻解表出時，其位置可大分為「基本型」和「變化型」兩類，在「基本型」中，本體、喻體、喻詞、喻解都只出現一次，排列方式可分為兩種，在「變化型」中，喻解的表出更為靈活，大致上可以分成三種。而「基本型」的表出方式，會造成突出之美、呼應之美，「變化型」的表出方式，更多了靈動之美。

關鍵字

余光中；新詩；譬喻；喻解；同構

並列摘要

Figuration makes sense by means of a similarity that links between the subject and the object. Such a similarity is referred to the ”key” of figuration. Wherever the ”key” is found, the figuration is unraveled. Mr. Yu Kuang-chong is a respectable leader in the circle of poets. This article targets on Yu's neo-poetry to highlight where the key is located when the poet manages to apply a figuration. The author concludes that there is two ways arrange the location of the key: the basic and the variable patterns. In the basic pattern, the subject, the object and the key appear once in a poem. And there are two kinds of arrangement to array the location of the subject, the object and the key. The variable pattern, on the other hand, has three kinds of arrangement and its figuration is more flexible. The basic pattern of figuration represents a vigor that corresponds a poetic beauty of prominence. The variable patter represents a flexibility that creates a poetic beauty of cleverness.