礦室之死亡：陳黎〈最後的王木七〉詩敘事策略與象徵系統的戲劇性

The Narrative Strategy and Symbolic System of Dramatization of Chen Li'sthe Last Wang Mu Chi

解昆樺(Kun-Hua Hsieh)

《國文學誌》 23期 (2011/12) Pp. 173-201

https://doi.org/10.6973/CJ.201112.0173

摘要

陳黎長型詩作〈最後的王木七〉為1980年獲第三屆時報文學獎敘事詩首獎詩作，就現代詩文體發展史來看，本身是一九七○年代詩壇敘事詩發展脈絡下的作品。在一九七○年代現代詩文體所以開展出敘事詩的實驗，本身涉及了詩人對詩語言能否進行敘事的探勘，以及強化現代詩社會性與現實性的表達。但整體來說，隨著詩壇相關作品的累積，其詩美學重點漸次放在長型敘事詩如何成就其敘事結構，不失其詩質，避免空泛語言的填充。因此長型敘事詩隨著詩行的鋪展，不只考驗詩人掌握語言的續航力，同時也放大了我們考究詩學的焦點。詩需要修辭，感情則需要煉剡。陳黎〈最後的王木七〉既以1980年瑞芳永安礦災事件為題材，其如何避免新聞事件的箝制，進行獨立性的再現，成為其詩敘事架構的重點。而在實際書寫中如何避免一味投注激情話語，有策略地運用意象、象徵等技術資源，製造詩文本內部的敘事韻律，成為其詩語言的修辭重點。正是因為陳黎致力於詩敘事架構與詩語言修辭兩者的實驗，乃至於兩者間的權衡，使〈最後的王木七〉在銘誌受難事件的同時，還透過幽靈敘事者的戲劇獨白，以及黑白象徵系統隱喻主體生命與宿命，昇華了在詩作字句段落間那縈繞的幽靈，使其成為感情悲劇的文本。

關鍵字

陳黎 ； 敘事詩 ； 敘事架構 ； 敘事韻律 ； 悲劇

並列摘要

Chen Li had received the first prize for narrative poems of the 3rd Literature Award of China Times in 1980 by his epic poem ”the Last Wang Mu Chi ”. From the point of view of the development of contemporary literary style, the work itself is production of 70s' development of narrative poetry. The experiment that the modern literary style started in narrative poetry in 1970 involves whether the poets can explore narration in terms of poetic language and strengthening the expression of the social and realistic factors of the contemporary poetry. In general, with the accumulation of relevant works in poetry circle, the essence of poetic aesthetics lays much more in how long narrative poems construct narration without losing poetic element and filling blank by vagueness. Therefore, as the poetic line goes in long narrative poem, it examines the poet's grip of language and amplifies our focus on study poetry.Poems need rhetoric while emotional flows need polishing. Chen Li's ”the Last Wang Mu Chi” is themed by the mine incident happened in Ruifang Yongan in 1980. His avoidance of being restricted by news and representation of independence have been made the focus of the narration. The rhetoric key points lay in how he avoids putting words which arouse emotions in the book and use images and symbols strategically, and produces the narrative rhythm in the poem. This is the experiment of narrative construction and rhetoric to which Chen Li was dedicated as well as the balance in between. This also uplifts the level of the ghost which lays between the poetic lines by the monologue of ghost narrator and the black and white symbolic system to imply the life and destiny while the Last Wang Mu Chi presents the incident, which makes it a tragic text.

並列關鍵字

Chen Li ； Narrative Poetry ； Narrative Construction ； Narrative Rhythm ； Tragedy

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