臺灣現代詩河流意象研究──以余光中、楊牧、吳晟為例

河流，源遠流長，自古至今，其千姿百態為人們帶來了無限遐思，是文明發展要素，亦為鮮明之地景標誌，劃分疆界也代表國族，從地理或歷史、文化之角度觀，河流都是不可忽視之重要意象，亦是歷來文學家筆下常用之素材。本論文探究現代詩中的河流意象，以余光中、楊牧、吳晟為研究對象。討論河流之特性過渡到文學中之延伸和轉化，從河流之原型中觀察，分析其物質之特性，以及人們對河流之印象所發展之象徵意義，也從河流意象觀詩人對「地方」之認同。經由空間理論與現象學等方法，加上詩人本身之經歷、學養、觀點等，比較其中之共性或衍伸之殊異經營。余光中之河流，從意象呈顯「鄉愁」主題為主要特徵，河流之「母性」，源自於血、乳汁等母體內水之生殖、哺育功能，從人們普遍對母親之依附與想望，勾連對故鄉之懷念。再者，從懷想現實之土地，至追念文化、前賢之「懷古」之情，河流代表了血緣之牽繫，乃詩人追溯中華文化史、個人生命史源頭之媒介。余光中寫淡水河也透顯其寫鄉愁之特徵，總追索著永恆的彼岸，或亙古對過往的回溯，以河流傾訴刻骨銘心的精神依歸；楊牧之河流，形塑廣泛之母題，寫人類普遍之經驗、情感，為大至世界，小至個人之歷史探源。河岸之情愛想像連結古典，「渡河」則牽涉到事物、概念之交界與生、死思索，楊牧之生命觀亦藉河流之奔流入海，再化成「雨」降下為河流，向一種循環、圓滿前行。花蓮的河流是「故鄉」之象徵符碼，牽涉遠古神話、創世風貌，到展現崇高之時、空凝視，兼具私密感與浩瀚感，以文學創造地方，呈顯壯闊而深層之內涵；吳晟之河流從地方感之建構，到水資源問題之控訴，是展現「鄉土」認同的方式之一，飽含詩人對土地與農業、農人之關懷。後期寫彰化之河流，多呈顯河流「受害者」形象，強烈之批判是其特色，亦可連結詩人所參與之社會運動，一併達到喚醒大眾對於鄉土自然與人文地景的關注。三位詩人分別演示了河流於現代詩中之重要功能，透過比較其異同，可以從不同的視角，觀察河流意象的變化所呈顯之家國意識、哲學思索與生命感悟，發掘其與時代、社會的密切關聯。

關鍵字

河流意象；余光中；楊牧；吳晟

並列摘要

Rivers have a long history. From ancient times, their various shapes and forms have brought infinite reverie to people. Rivers are an element of civilization development and a distinctive landmark of the landscape. From the perspective of geography, history, and culture, rivers are important imageries that cannot be ignored, and they are also frequently used materials in the writings. This paper explores the river imageries in modern poetry created by Yu Guang-Zhong, Yang Mu and Wu Sheng. Discuss the extension and transformation of the character of the river into literature. Observe from the prototype of the river, analyze its material characteristics, such as fluidity, as well as the symbolic meaning developed by people's impressions of rivers. The poet's identification with a certain "place" is also viewed from the imagery of rivers. Through the methods of space theory and phenomenology, as well as the poet's own experience, education, viewpoints, etc., we compare the commonalities or the special differences among them. Yu’s river imageries mainly characterize the theme of “nostalgia”. The "motherhood" of the river originates from the reproductive and nurturing functions of the mother's blood and milk. Yu connects people's attachment to and longing for their mothers with their nostalgia for their hometown. Furthermore, from the memory of the land to the memory of the culture and the "nostalgia" of the former sages, the river represents the medium through which the poet traces the history of Chinese culture and the history of personal life. Yu’s writing about Danshui River also reveals the characteristics of his nostalgia: the search for the eternal other side, the retrospection from ancient times, and the river as an unforgettable spiritual refuge. Yang’s rivers transcend insignificant human beings and limited life, and he does not limit to a single river. He has formed a broad motif, written about the universal experience and emotions of human beings, and explored the historical origins of the world and the individual. The imagination of the love between the river and the bank is linked to the classics. "Crossing the river" mostly involves the intersection of things and concepts, and the contemplation of life and death. Yang's view of life is revealed by using rivers flowing into the sea, and then turning into "rain" and descending into rivers, moving towards a kind of cycle and perfection. The river in Hualien is the symbol of "hometown", and that private and vast world gives Yang unlimited creative nutrients involved with ancient myths, the style of creation. It gives Yang the retrospect of the hometown and its own history, to the sublime gaze from the time and the space, from the concrete to the abstract, showing a grand and deep connotation. Wu's river from the construction of "sense of place" to the indictment of the changes of "landscape" is one of the ways to show the identity of "local", which is full of the poet's concern for land, agriculture and farmers. Most of the later writings of the rivers in Changhua presented the image of "victims", and the strong criticism in those writings was their characteristic. They could also be connected with the social movements that the poet has participated in, and at the same time, they could arouse the public's attention to the local natural and human landscape. The three poets respectively demonstrated the important functions of rivers in modern poetry. By comparing their similarities and differences, we can observe the changes in the imageries of rivers from different perspectives to present national consciousness, philosophical thinking and life perception, and explore its close relationship with the era and society.