覃子豪的晚期詩作及象徵主義實踐－以《畫廊》集為中心

前行研究對覃子豪晚期詩作的解讀多將其默認為象徵派詩人，本文則選擇將此「象徵主義」風格進一步問題化，一方面指出覃子豪本人對於象徵主義的態度在前後期實有巨大的轉變，另一方面強調不應將「象徵主義」固化為某一流派、風格，而應追問這一詩學對詩人更為深層的意義何在。以覃子豪本人的詩論與自述為基礎，細讀其最後的詩集《畫廊》，本文試圖由此理解詩人如何以象徵派的筆法，將破碎痛苦的現實自我的感覺與經驗，焠鍊為具整體性的審美主體，並完成其詩探索的歷程。更重要的，本文試圖在這一歷程中辨認覃子豪的早期詩學立場與晚期詩學立場之間看似對立、實則可通的關節，以期在前行研究者所建構的判然割裂的早期覃子豪與晚期覃子豪間，發現內在一致性與完整性，並由此見證詩與詩人面對政治與現實高壓時的自主可能。

關鍵字

覃子豪；象徵主義；《畫廊》；晚期風格；詩學

並列摘要

Instead of reading Qin Zihao's late works by taking for granted Qin's identity as a Symbolist poet, this article wants to problematize and contextualize his Symbolist poetics. I want to emphasize that, for one thing, Qin's attitudes toward Western Symbolist poets indeed went through a tremendous change between his early days and late years. For another, rather than pinpoint the so-called ＂Symbolism＂ to a certain group of writers, a more productive approach would be to explore its inner affinity to the writings and life stories of the poet. Based on Qin's own literary thoughts and poetry writing with a focus on his last poetry collection, The Gallery, this article intends to elaborate how the poet deploys the Symbolist poetics to create an aesthetic totality that resolves (or fails to resolve) the pains and sufferings in real life. More important, it is my contention that, despite the seeming contrasts between Qin's early and late works, one can nonetheless detect an underlying consistency that really testifies to the poetic agency vis-à-vis the political hegemony.