心物交感互动:好诗的基本条件——以林亨泰、郑愁予的两首组诗为例

A Talk on Criteria for Good Poetry——A Case Study of Poems by Lin Hengtai and Cheng Chouyu

好诗的条件会是什么?一直是历史中争辩不休而未得正解的问题,诗人的见解不免成为主观的诗观的表达,评论者的意见往往又是术语的堆砌,读者接受学的反应,也从未有人真正提出统计数据加以分析。论文试图从诗歌发生学的角度去厘清好诗的基本条件,第一层次在于诗人是否能以自己的心与外物交感互动,成就一首好诗,第二层次在于这首诗是否能够唤醒读者的心与外物(包含这首诗)的交感互动,藉以确立一首好诗的基本特质。并以林亨泰的《风景》组诗、郑愁予的《小城连作》组诗为例证,加以鉴识。

What would be the criteria for good poetry？ This has long been a controversial question waiting for an acceptable answer. While a poet＇ s answer to the question expresses his or her subjective view on poetry in general, a critic＇ s comments more often contain a bunch of technical terms. In addition, there are no scholars of reception theory trying to answer the question using statistical analyses. This paper attempts to propose a criterion for good poetry in terms of the genetics of poetry. The first level of the examination lies in questioning whether the poet is able to produce a good poem out of the interaction of his or her mind with objects; the second level lies in questioning whether the poem can evoke the interaction of the reader＇ s mind with objects （including the poem）. With this two-leveled examination, one can ensure the qualities of a good poem. The researcher will look at Lin Hengtai＇s sequence ＂Scenery＂ and Cheng Chouyu＇s sequence ＂Small Town Sequence＂ to illustrate this point.