蕓朵截句的形式變革

近年來兩岸「截句」的創作蔚為風潮，臺灣詩學季刊社在創立25週年時，出版「臺灣詩學25週年截句詩系」共計15本，這可謂是臺灣在「截句」創作上的重要標幟。時至今年（2022），「截句詩系」已出版46本，可見截句的創作與發展不容小覷。本文欲探討詩人蕓朵在截句形式上的變革，並以《蕓朵截句》與《舞截句》為研究對象。第一部分從「結構形式」的視角切入，探討詩人前後兩本作品在行數、句式上的轉變；其變化軌跡由《蕓朵截句》對截句的初探與嘗試，到《舞截句》舞出更豐富的形式姿態。第二部分聚焦於《蕓朵截句》、《舞截句》的共同形式特色，即「複數文本」的呈現，詩人運用「照片」或「書法」與截句搭配，其中展現的是與自然共舞的詩風特色。

關鍵字

截句；詩的形式；複數文本；《蕓朵截句》；《舞截句》

並列摘要

Jie-ju has been gaining increasing popularity among poets across the Strait. In celebration of its 25th anniversary, Taiwan Poetry Quarterly published 15-volume The 25th Anniversary of Taiwan Poetry: Jie-ju Series. This publication marked a milestone for jie-ju in its history of development. By 2022, the Jie-ju Series has seen 46 books published, highlighting its prospect and significance not to be underestimated. This essay aims to investigate the formal change in Jie-ju made by Yun Duo through Yun Duo Jie-ju and Dance Jie-ju. The first section illustrates the modifications in the number of lines and the poetry structure in the two works based on the ''principle of organization and form.'' The modifications can be traced from the initial exploratory attempts at composing jie-ju in Yun Duo Jie-ju to a dynamic performance of more diverse forms in Dance Jie-ju. The second section revolves around the similarity between the two works in terms of ＂plural texts.＂＂Plural texts＂ such as pictures or calligraphic fonts are used by poets to illustrate their intentions. This strategy allows poets to instill elements of nature into a poem.