至極華美的完成－紀弦詩的死亡想像

紀弦以英雄之姿，面對死之必然，詩中墳墓、黑洞、涅槃、骷髏、標本等死亡意象布列成群。本文意在探討凡此意象之指涉，及由此所延伸的諸問題，擬分從三個面向展開論述。一為「向死的存在」。從存在姿態到理想死去，紀弦浪漫謳歌死神無私，憑藉死亡意識充實虛無的生，積極設計死亡藍圖、預立遺囑，並選擇葬儀。二為「死亡的美學」。紀弦主張宇宙萬物之死，同樣莊嚴靜美，人類可以戰勝死亡，伴隨神一般的巨響，創造毀滅的美感。三為「死亡的超越」。堅持以生命立詩的紀弦，既實踐儒家的不朽衝動，同時想像基督復活及佛教西方極樂世界之可致，透過永恆境地的構築，遂行超越死亡之可能。

關鍵字

紀弦；存在；死亡；基督；涅槃

並列摘要

Ji Xian faces the inevitability of death with a heroic posture. In his poetry, death imageries such as tombs, dark caverns, nirvana, skeletons, specimens, crosses and so forth are arranged and exhibited in a batch. This paper probes into the inferences of these death imageries and their extended queries. Accordingly, this paper is drafted to analyze and discuss the following three aspects to sketch the contours of Ji’s death viewpoints. One is ＂being-towards-death＂: From the state of ＂live to death willingly,＂ Ji eulogized death deities without prejudice. He emphasized that the consciousness of death completed the illusion of life, designed the blueprint of death, mapped out the manner and space filed of death, and drew up a will previously. Another is the aesthetic of death: Ji contended that the death in the universe could be as well solemn and respectful. He also believed that humans could defeat death, and created the ‘doom of aesthetic’ with big bang from death God. The other is ＂beyond the death＂: Ji Xian, who devoted life to poetry, not only practiced the impulsive imperishability from the Confucianists, but also believed in resurrection of Jesus and achievement of ＂Ultimate Bliss of Buddha.＂ Hence, through the construction of ever-land, it brought the possibility of ＂beyond the death＂.