向陽考─詩刊作為途徑

詩刊中的向陽鮮有人探究。當我們回探詩人的身世，一九七○年代中期進入文化大學日文系，參與華岡詩社的向陽，其詩藝的養成與養分，除了「華岡詩社」還有「笛韻詩社」、「詩脈詩社」，而他的詩想足跡散落在一九七、八○年代詩刊物中。在筆者盡可能地毯式搜索後，發現《大地》詩刊（1975.10）中一首〈首航的唄頁〉，紀錄南投出身的詩人第一場海上壯游，側寫台海夜色。這首作品無論對於其生命紀錄或地誌特質上，皆可視為探究向陽詩美學的一道定音。《龍族》、《主流》、《草根》、《大地》、《詩人季刊》等詩刊，乃至向陽與詩人共同創辦的《陽光小集》，共同在一九七○年代先後嶄露頭角。其特色之一為主導者多是學院知識青年，其二則是除了凝聚同世代詩人，前行世代的詩人群也是他們所欲對話的對象，甚至在回歸現實的呼聲下，社會與土地是他們交流的目標，這一代詩刊展現了前所未有的對話性格。本文將指出，詩刊中的向陽如何在台灣文學思潮「轉向」的風潮中，扮演承先啟後的角色。藉由探究詩刊所具有的媒介意義，重考一九七、八○年代現代詩刊物中的向陽的定位、創作、行動，期能重構詩人詩想的路徑，進而再現並重思詩人自一九七○年代以降，寫實／現代主義兩大風潮之錘鍊。

關鍵字

向陽；詩刊學；現代詩刊；寫實主義

並列摘要

Few people have investigated the Hsiang Yang found in poetry periodicals. When we look back on the lives of poets, we can find traces of Hsiang Yang's poetry and thought scattered throughout the 1970s and 80s. Hsiang Yang entered the Chinese Culture University Japanese department in the middle of the 1970s. Here he joined the Hanaoka Poetry Society, which together with the Whistle Poetry Society and the Poetry Veins Society formed the soil for the cultivation of his poetry. A careful search found that a poem titled ＂Chant of the Maiden Voyage＂ within the poetry magazine The Earth (October 1975) records the first voyage at sea of this poet from the interior (Nantou), profiling the night scenery of the Taiwan Strait. Whether as a record of his life or of regional geography, this poem can be seen as setting the tone for the investigation into the aesthetics of Hsiang Yang's poetry. Poetry magazines in the 1970s were those of a new generation of brilliant Taiwanese poets, not like those of the past under official control like The Epoch Poetry Quarterly, Contemporary Poetry, and Blue Star Poetry which, despite having a mainstream position within literary circles, were clearly only aimed at people with similar backgrounds. Poetry magazines such as Dragon Poetry, Mainstream Poetry, Roots Poetry, The Earth, Poets Quarterly, and Bundle of Sunshine, one after another burst into the limelight in the 1970s. One of their characteristics was that most of them were led by intellectual youths in university, and that besides bringing together poets from the same generation, they also hoped to converse with poets from earlier generations. Even more, heeding the call for a return to reality, society and the land were also subjects of their exchange. The poetry magazines of this generation had the character of a dialogue, which was unlike anything seen before. This article shows how Hsiang Yang served as a link between past and future as literary thinking in Taiwan underwent a ＂directional change.＂ By investigating the significance of poetry magazines as a medium, the position, literary creations and activities of Hsiang Yang in poetry magazines of the 1970s and 80s are explored, in hope of being able to the reconstruct the path of the poet's poetry and thought and to further represent and reconsider how poets from the 1970s onwards tempered themselves through the two major waves of realism and modernism.