马苏菲 荷兰莱顿大学
Marijnissen, Silvia, Leiden University
原文Original
Xia Yu (夏宇) and the Poem as Construct
Most modern poetry from Taiwan is, at least until the 1980s, written in a prose style, following conventional, correct syntactic relations: its flowing free verse, broken at a natural place in the sentence, gives the impression of spontaneity and authenticity. Imagery is the most common source for tension and surprise. One might call such poetry ‘transparent’, as it revolves around the transfer of meaning.
Ever since the publication of her first book Memoranda (《备忘录》) in the mid 1980s, Xia Yu has increasingly challenged such an idea of poetry. Especially her later work (Friction: Undescribable 《摩擦：无以名状》; Salsa [original English title] and Pink Noise 《粉红色噪音》) explores and stretches the limits of language. Meaning is continuously postponed and language draws attention to itself. Thus, the act of making poetry and the materiality of language gain the upper hand; ‘artificiality’ prevails over ‘transparency’. Likewise, the poetic form also specifically asks attention to its construct.
In this paper I will show how Xia Yu’s poetry displays its artificiality. It does not revolve around ‘meaning’ and ‘truth’, but especially around the pleasure of creating. Her playful and ironic approach ridicules the ‘high’ status that poetry has been ascribed of old. As such Xia Yu’s poetry clearly ties in with larger literary contexts than the Taiwanese history and reality in which it was written.
译文Translation
夏宇和作为构成的诗歌
直到19世纪80年代，大多数来自台湾的现代诗还是以散文体写成的。遵从一种惯有的、正确的句法关系：流动的自由诗体，在句中恰当的地方有所停顿，给人一种无拘无束和真实自然的印象。诗歌的张力和新意通常源自意象的塑造。也许有人会认为这样的诗作过于直白，因为它通篇都是围绕着意义的转换而展开。
19世纪80年代中期，夏宇出版了第一本书《备忘录》。从那时起，她开始对这样的诗歌主张提出越来越强烈的质疑，特别是她后来的那些作品，如《摩擦：无以名状》，《萨尔萨》和《粉红色噪音》，探索并扩展了语言的界限。在这些作品中，意义一再被置于从属地位，语言则吸引了读者的注意力。由此，制造诗歌这一行为，以及语言本身，再次占据了主导地位。这也就是说，“人工雕琢”胜于“直白浅近”。与此同时，诗歌形式也成为诗歌构成特别需要注意的组成部分。
本文将介绍夏宇的诗歌如何展现出它“人工雕琢”的趣味。她的诗歌所在意的并不是“意义”和“真实”，而是创造的乐趣。以其戏谑和讽刺的诗风，她对诗歌长久以来被赋予的“高雅”地位予以嘲讽。这样，夏宇的诗歌不仅表现了台湾人的历史和现实，而且与更为宽广的文学世界紧密联系在一起。