荒謬世界的孤獨者－論商禽詩的存在與死亡意識

1950 年代逃亡抵臺的詩人，被拋置於陌生、異己空間，60 年代再罹白色恐怖，客體世界詭譎荒謬，使得顫慄恐懼和荒誕虛無成為共同的情狀與情緒。商禽不僅無法擺脫時代習染，且幾乎成為孤獨存在者之典型。本文探討商禽存在與死亡意識，擬由三個層面依序展開。首先，分析詩人的荒誕存在感和特殊孤絕情緒，藉以掌握其死亡陰影根源及面對之態度；其次，掘發詩人凝視死亡，言說死亡，進行關於莊嚴或無謂之死的反覆辯證；以及，藉由夢與詩的途徑，跨越現實侷限，走出死亡。結語歸納商禽死亡美學，既迴旋一種滿足的歸依心態，又流露出深淵般絕望的灰暗清冷色調，似乎矛盾悖反的死亡意識，同樣源於處境的荒謬與內在的孤獨。

關鍵字

商禽；死亡；荒誕；孤獨；現代詩

並列摘要

Poets who escaped to Taiwan in 1950s were abandoned in the strange and non-self space. Moreover, they suffered from the ＂White Terror＂ again in 1960s, which made the objective world full of strangeness and ridiculousness, as well as had the conditions and emotions of shiver, fear, absurdity and emptiness become common. Shang-Qin not only fails to break away from the circumstances of time but also almost becomes a model case of people existing solitarily. This article discusses the topic of Shang-Qin's consciousness of existence and death, and develops from three dimensions in order. Firstly, the poets' feelings of surreal existence and emotions of peculiar solitude are analyzed to grasp the origin of their death shadow and attitudes toward facing death. Secondly, how the poets look upon death, how they talk about death, and how they carry out the repeated debate on solemn or senseless death are discovered. Thirdly, this article strides over the fence of the reality and goes through the barrier of death through the path of dreams and poems. Finally, this article is concluded by Shang-Qin's aesthetic perspective on death, which not only convolutes the satisfying mindset of attachment but also reveals the dark and chilly hues of a gulf-like despair. It seems to contradict to the consciousness of death, but originates from the situational ridiculousness and the internal loneliness.