论台湾现代诗中的“沉默”——以罗任玲诗作的陈述表现为中心
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摘要
沉默有如黑洞,带领读者进入诗的无边宇宙。在现代诗里,沉默以意象或陈述表现。它经常指向读者所发现的,字里行间的意蕴或符旨;但是阅读行为中"沉默"或"空隙"更难能可贵,更能在飘移的符征中生发阅读趣味。沉默是台湾中生代诗人罗任玲诗作的主要特色。"安静""静默""祥和""安详""宁静",是罗任玲诗中经常出现的关键词;纷扰世局和流行诗潮完全撼动不了她充满哲思的安详气质。倘若按照陈述语和意象语在诗行中的比重区分,罗任玲诗中的沉默至少有三种表现方式。其一,意象语虽未主宰一切叙述,但是整合叙述;其二,由藕断丝连的意象将死亡的想象置诸生存的描绘,在生死的纸上历练中凝结现实;其三,几乎泯除陈述语,而每行的意象之间就有隐约的命题,或从句式,或从语法,和意象互为表里。
Like the black hole,silence takes the readers to the boundless poetic universe.In modern poetry,si-lence is presented in imagery and declaratives.It often refers the readers to the indication and significationthey find between the lines; the estimable silence in reading lies in the fun experienced among the floating sig-nifiers.Silence is the main feature of Taiwanese poet Luo Renling."Quietness","muteness","calmness","peacefulness",and"serenity"are the key words that frequently appear in her poetry; the disturbing worldand the popular poetic trends can hardly shake her composed philosophical qualities.If calculated by the pro-portion of declarative statements and imagery expressions used,silence is presented in at least three manners:1.imagery expressions integrate narration if not dominating it; 2.severed but still connected imagery expres-sions of imaginary death are used in describing survival,allowing the experience of life and death on the paperto condense into reality; 3.declarative statements are almost all buried in imagery expressions that seem to con-tain propositions seen from their sentence patterns,grammatical structures,and interactive imageries.
Like the black hole,silence takes the readers to the boundless poetic universe.In modern poetry,si-lence is presented in imagery and declaratives.It often refers the readers to the indication and significationthey find between the lines; the estimable silence in reading lies in the fun experienced among the floating sig-nifiers.Silence is the main feature of Taiwanese poet Luo Renling."Quietness","muteness","calmness","peacefulness",and"serenity"are the key words that frequently appear in her poetry; the disturbing worldand the popular poetic trends can hardly shake her composed philosophical qualities.If calculated by the pro-portion of declarative statements and imagery expressions used,silence is presented in at least three manners:1.imagery expressions integrate narration if not dominating it; 2.severed but still connected imagery expres-sions of imaginary death are used in describing survival,allowing the experience of life and death on the paperto condense into reality; 3.declarative statements are almost all buried in imagery expressions that seem to con-tain propositions seen from their sentence patterns,grammatical structures,and interactive imageries.
引文
[1]罗任玲.逆光飞行[M].台北:麦田出版社,1998.
[2]罗任玲.一整座海洋的静寂[M].台北:尔雅出版社,2012.
[3]维斯拉瓦·辛波斯卡.万物静默如谜:辛波斯卡诗选[M].陈黎,译.长沙:湖南文艺出版社,2016.
[4]罗任玲.密码[M].台北:曼陀罗创意工作室,1990.
(1)痖弦、张默、商禽、梅新、孙维民等,曾撰写对罗任玲诗作的评论,大致针对罗任玲的某一首诗。可参见罗任玲收于《一整座海洋的静寂》(台北:尔雅出版社,2012),第33 、134页;《逆光飞行》(台北:麦田出版社,1998),第47 、54、131-134、171页。论者对罗任玲诗的特质有其共识,为讲究知性、深度与密度、柔中带刚、善意的箴规、短小的形式。
(2)此为简政珍的名言。相关论述参见简政珍:《诗的瞬间狂喜》(台北:时报文化,1991)、《诗心与诗学》(台北:书林书店,1999)、《台湾现代诗美学》(台北:扬智出版社,2004)多篇文章。本文对”沉默“的观念,受惠于简氏之诗学论著甚多。
(3)梅新之评文见罗任玲:《逆光飞行》,台北:麦田出版社,1998,第131-134页。
[2]罗任玲.一整座海洋的静寂[M].台北:尔雅出版社,2012.
[3]维斯拉瓦·辛波斯卡.万物静默如谜:辛波斯卡诗选[M].陈黎,译.长沙:湖南文艺出版社,2016.
[4]罗任玲.密码[M].台北:曼陀罗创意工作室,1990.
(1)痖弦、张默、商禽、梅新、孙维民等,曾撰写对罗任玲诗作的评论,大致针对罗任玲的某一首诗。可参见罗任玲收于《一整座海洋的静寂》(台北:尔雅出版社,2012),第33 、134页;《逆光飞行》(台北:麦田出版社,1998),第47 、54、131-134、171页。论者对罗任玲诗的特质有其共识,为讲究知性、深度与密度、柔中带刚、善意的箴规、短小的形式。
(2)此为简政珍的名言。相关论述参见简政珍:《诗的瞬间狂喜》(台北:时报文化,1991)、《诗心与诗学》(台北:书林书店,1999)、《台湾现代诗美学》(台北:扬智出版社,2004)多篇文章。本文对”沉默“的观念,受惠于简氏之诗学论著甚多。
(3)梅新之评文见罗任玲:《逆光飞行》,台北:麦田出版社,1998,第131-134页。