論杜國清現代詩創作、翻譯與詩論

Abstract

杜國清(1941~)，目前任職於加州大學聖塔芭芭拉校區(UCSB)東亞系台灣研究中心的主任，積極推動台灣文學在國外的研究與翻譯。曾參與《現代文學》的編輯，於台大就學時期，認識白先勇、趙天儀等人。後於1964年與十一位台灣詩人成立屬於台灣人的文學詩刊─《笠》，為台灣文學的歷史寫下了新的紀錄。杜國清雖然在各方面耕耘，但是卻常被拆成好幾個分身，只記得他是一位學者、翻譯家，甚至稱呼他為《笠》的例外詩人。而近期的研究，也都是針對杜國清單一的身分作探討，尚未對杜國清的翻譯、詩作、詩論作系統性的整理與分析。所以本文從杜國清詩人的身分出發，透過釐清詩人的生平經歷、文學翻譯、詩論，讓其現代詩的分析能更為透徹，以及杜國清在台灣詩壇的角色能更加清楚。 後來詩人到日本、美國等地求學，也繼續從事翻譯、創作等研究，他曾經研究、翻譯艾略特、西脇順三郎、波特萊爾、李賀等人的作品，所以在創作上也受到西洋、日本、中國等文學的影響。近幾年在美國加州大學聖塔芭芭拉分校擔任台灣研究中心的主任，提倡世華文學，並推展台灣文學英譯叢刊，讓世界看見台灣文學。透過文學翻譯，杜國清能看見前人的作品與詩論，雖然不同時期有不同的翻譯偏好，但是因為深入探討過他人的創作，詩人進而能去挖掘出屬於自己的詩論與作品。 杜國清除了翻譯、寫詩之外，他也發展出一套寫詩的原則，與對詩的看法。他先從詢問文學的形上(mataphysical)問題—「詩是什麼」開始，早期認為詩是靈魂絕望的呼喚聲，後來認為詩是一種想像的美的世界。而後為了要將抽象的「美的世界」解釋清楚，他說明好的詩是一個平衡的狀態，詩的本質應該是由四維—情、理、事、物所構成，同時詩人寫詩要本著詩學三昧─驚訝、譏諷、哀愁而成，以便達至美的世界。不過在杜國清眼裡，美及哀，若要表達美的世界，還需要透過詩人之心以及感性與知性的操作，才能讓此詩達成平衡的境界。但是杜國清認為詩永遠只能接近平衡，而不能永遠的與詩神同在。所以要透過「超然」，使得詩人之心呈現一多相即的珠子，以圓融的應付有限生命對無限宇宙的哀愁。 所以詩人的創作，受到自己學問的啟發，讓他的詩作品產生階段性的不同，早期的詩作是單純的抒發個人之情，慢慢的生命經驗、學識增廣之後，杜國清則試圖將自己的理念透過創作來實踐，希望能夠為人類靈魂帶來安慰，進而形成一個永恆的藝術品。然而為了達到這宏大的理想，杜國清的作品呈現獨特的個人風格，若是與文學翻譯或詩學建構比較起來，他的詩目前仍屬小眾。雖然杜國清的詩與詩論還沒有深刻的影響臺灣詩壇，不過他在文學翻譯推界上的成果，卻是值得肯定的。Kuo-Ch’ing Tu (1941~),who is a director holds an office at present in University of California at Santa Barbara (UCSB) department of East Asian Languages& Cultural Studies center, impels the Taiwan literature positively in the overseas research and the translation. Tu once participated in "Modern Literature" the edition in National Taiwan University, he knew Hsien-yung Pai, Tien-yi Chao and else at that time. In 1964, he established Taiwanese's literature poem publication - "Li" with 11 Taiwan poets, which has written down the new record for the Taiwan literature history. Although Tu does literature work in various aspects, people only remembered that he is a scholar, a translator, even called him the exceptional poet of "Li". In the recent researching, people have not done the systemic arrangement and analysis to Tu's literature translation, the poetic composition, and the poem discussion. For that reason, this article focused on the penetration of poet's biography experience, the literature translation, the poetics, and it also analyzes its modern poem completely. Therefore, Tu plays a role in the Taiwanese poetic group. Afterwards, Tu was studied and translated the poetics of T.S. Eliot, Nisiwakizhunzaborou, Ch. Baudelaire, Li ho and some other poets’ compositions while he studied abroad in Japan, USA. And so his idea and creation is influenced by Western, China and Japan. Through literary translation, Tu has been seen the ancestor’s compositions. Because of he discovered the others’ compositions, he developed his own one. We knew that Tu’s works has been influenced by modernism, symbolism and Japanese literature’s modern poems. Tu not only writes some poems and translates, but also develops a principle of poems and opinions of poems. He questions “what the poem is” in metaphysical literature. At first, he thought that poem is the call of desperate spirit but afterward he thought the poem is the imaginable beautiful world. In Tu’s opinion, he thinks that in order to express the beautiful world, it has to go through the perceptual and rational heart of poets. By doing so, it makes the poem perfectly. Tu thinks poems only approach balance but not always stay with “the god of poems”. To deal satisfactorily with the limit life to the unlimited universal sadness, it has to go through the “Transcendentalism”. Tu expresses his own ideas in the works and he hopes that his works can comfort the spirit in order to become the eternal art. In all of Tu’s poems, the poems contain the sorrow because of the limited life. Overall, it proves that the poets have their own characteristic in “Li” group. The thought of literature is based on the translation of literature. The cautious thought is based on the construction of poetics. The liberal thought is based on the written of modern poems. To make the development and the study of “History of Taiwan Literature” to become more objective, it has to go through the study of individual poets.