在游历中超越——再论张默兼评其旅行诗集《独钓空濛》

Transcendence during Tours

台湾著名诗人张默及其所代表的台湾前行代诗人,经由半个多世纪,从人本到文本的塑造所行成的"诗歌人格"和"诗歌精神",已成为百年中国汉语诗歌一种可资借鉴的重要资源与传统。一向"把‘诗’当作动词"的张默,对"旅行诗"的写作更是偏爱有加且独有心得。新近出版辑其五十余年"旅行诗"作品为大成的《独钓空濛》诗集,以"台湾诗帖"、"大陆诗帖"、"海外诗帖"三大板快亦即"家园"、"故国"、"彼岸/远方"三种文化地缘的游历互证,不但构成别具一格的诗性行旅之丰饶景观,更将一般而言的"旅行诗",提升到一个深具"文化学意义"的高度。

Zhang Mo, a renowned Taiwan poet, along with other Taiwan poets of former generations, has constituted the ＂poetry personality＂ and ＂poetry spirit＂ through efforts of over half a century, which has become an important resource and tradition of Chinese poetry worthy of reference. Zhang Mo, who always regards the‘poem＇ as the verb, is fond of and has unique insights in writing ＂travel poems＂, as is evident in his newly released poem collection--Fishing Alone in a Hazy State--which is composed of three sections： poems on his tours in Taiwan, around the mainland, and on foreign land, i.e. ＂the homeland＂, ＂the native country＂, and ＂other or distant places＂. His collection of poems has not only constituted a distinctive trait of travel poems but also endowed ＂travel poems＂ with ＂cultural significance＂ and elevated them to a new height.