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煮茶聊詩
討論板名:煮茶聊詩 http://chiushui.org


文章標題:洄溯琴川尋天籟-析評琴川詩集        楊昌年的IP位置:163.20.3.11

                      
文藝價值評估的切入點為何?不外是時代、空間之不受拘限,以及特色。而特色之所以能具備,即在於作者所建屬於他一己的城堡:在題材上有他一貫抒寫的路線;在手法上有他獨特的風格。因為人生的題材既屬汗牛充棟,而風貌之紛乘又復采姿千萬,斷無以一己之力與苦短生命所能盡述,兼具包羅之理。非當有所抉擇,建立不克為央I所以貴重,所以能傳世而不拘限者在此!
筆者以為:琴川,她的詩作題材主線是「生命詩」;而出之以她婉美清澈的風格。
一、在時間底蚌殼裡
詩人以螺蛤闡喻人生的意象冷然翻出:如〈海貝〉二段中以蜷曲、迴旋之姿表徵人生茫昧的「問號」。〈鳳凰螺〉中以典麗筆觸抒寫「千年瞬間」的悵觸蒼茫。〈紫螺〉中「以倒立的姿勢浮游」,筆者的解讀或是對人生不由自主的自嘲。螺形的彎曲與倒立無非扭曲。〈百眼寶螺〉中,秋湖雲影與冬寒火暖的追憶僅只是片玉碎金,人生的沉重不改,就只能以「行吟」詩作來忮求如「佛陀一雙深澈的眼底」的抒懷。琴川淙流明澈,這是她在為芸芸眾生中萬千感喟者作此代言。
詩人賡續在螺蛤題材中作她的生命之旅。〈旋梯螺〉一首:雖然指涉可有多樣,但重點仍在禪境的企慕(光梯的垂下接引性靈的提昇)。而在〈玫瑰千手螺〉中,意象復返於人間情痴的觀照,既已知「人間性」的珍貴,遂不辭去背負那一具無形而有意義的十字之架。〈愛神蛤〉一
首尾段透露出經歷之後的蕭瑟情懷。一二兩段結句極具優美:「或者攤開夜箋/蘸著月光描繪地老天荒/再以流星交會的眼神落款」。「終在靜定的水底照見/你是素樸的大地/我繁花褪盡的本心」。曾使我感吟再三。〈樂譜渦螺〉的意象與前迥異,漾動著一份對生命之力與美的企讚。這一輯中的最末兩首,出現有生命的感喟。〈露珠蝶螺〉,雖引起朝露人生之歎,但亦復能有晶瑩之美的懷念,即使短美已能無憾。而迄至〈爰俸撋臐r的由璀燦而凋零,感性傳達的已是生命無常的宿命悲涼。
二、寂靜是樹唯一的回音
生命詩的夢土,琴川詩作以溫暖分送給都市水泥叢林中冷漠、疏離的人,如〈晨曦〉中的寓意。〈晨光之子〉中「爬到石頭上引頸而望」的「巴西綠龜」,喻言希求溫暖陽光原是生物們的原型共相。她的詩作重情,手法自然之妙在以景、物傳情:如〈雨〉一首的結尾:「穿透風景」的雨水已止,「試圖尋找針痕的鳥,逐漸飛出風景之外」,這一句極具雋永,蘊含有雪泥鴻爪,人生偶遇的蒼茫。與此相近的又有〈無題〉中風雲偶遇的意象。以物傳情例如〈臉以及五官〉〈眼〉一節中的「卻有釵h長年漂泊在外/早已遺忘了回家的路」,傳達出的是人生行役之苦的無奈。而〈畫鏡〉一首中的「穿過風兩袖虛無又飽滿」,以虛無、飽滿作虛實的整合,尤見人生弔詭之重。
詩人體認,敘寫人生況味、孤獨原型,悵觸萬千,最屬可感。在前〈海貝〉之中已見「寂靜最初,沉入/以孤獨的速度」。這一輯中紛然多見,如〈合歡樹〉中的「寂靜是樹唯一的回音/任月光將年輪沿著額際刻印」。〈釣者〉中有「在生之洋流裡載浮載沉」、「任由生物本能/終將成為命運的釣餌」的無奈。〈答案〉中「以及任何熟悉的公式都無濟/只有時間是唯一……」是詩人「時不我與」的感喟。而在〈千羽風箋〉「在這覆滿相思花的小徑/日安,我和我的憂鬱/林間斷續盡是寂寞鳥語」以法人莎岡的《日安,憂鬱》抒懷人生,尋求知遇而祛除孤獨。及至〈山盟〉之中的尾句「倒影中靜看絕色的彼此」,筆者以為,那是人寰廣漠,知己難遇之歎,何日可有才華相當,高山流水的知者相對賞鑒彼此的人間絕色?那又是何等可遇而不可求的平生快慰!
三、夜的五線譜上舉翅的音
〈站在高崖之上〉表徵人生或如涓流;又或如幽蘭之靜好開落;甚或能適性如風,而群相歸結無非俱屬「將所有光熱交給夏日最後那朵玫瑰/縱放如流星墜落於無邊夜野/爾後守著灰燼餘光向回憶取暖」的空寥。在〈吉貝的屋頂上〉「遠眺逐一亮起的村莊,隱約/有人以口琴釋放古調的怨悲」代言著生命坎坷的自訴。而尾句「歲月被倒帶成補破網和望春風/盤旋於鹹濕情節宿命的時空/心情是一壺泡了過久的茶/悠閒的杯中殘留著苦澀餘味」已然明指「苦澀」的人生況味,愴懷深切。〈靜坐黑暗中〉雖然「招喚我那異體的靈魂」意象能有掙脫現實夭矯而起的主動希翼。而結句「靜坐黑暗中任長短針在身上紋刺/等待一幅未知的生命圖騰」仍屬被動的無奈。
「芒花」意象常現詩中,類同於「愁多思買白楊栽」的蕭瑟,頭白蘆葦,常是生命易凋的借喻,真不知如此衰颯的題材,何以會出現在華年錦繡的作者詩中,想是流光迅捷,敏感的詩人早已預知?〈芒花盡處〉中以飛白之芒比喻心情。〈秋堤〉之中,芒花再現,「闌珊地素描秋之寂顏」,秋意闌珊也就是人生孤寂。「來自悲劇籠罩下掙放的輝煌」一句意象飛揚,筆者以為或同於李長吉「誰知死草生華風」的希翼!〈冬之書〉一首中三現芒草已老,「回首,山頭上的雲影依舊/靜默成天空唯一的告白」,拉近了人生盡頭,風景不殊而人事已非,吟味深沉可感。
〈茶花之夜〉的二段末:「再一次回眸,從此注定了/生生世世無以名之的尋索漂泊」是呵!有如紅作中黛玉的〈唐多令〉:「漂泊亦如人命薄,空繾綣,說風流」,儘管有病呻吟的才人太過「文才傷己」,但在滾滾紅塵中追尋「衣帶漸寬終不悔,為伊消得人憔悴」的歷程,本就是志士才人的共相,尋索既屬命定,那漂泊的悲感又如何能免?
贊成她不落於「媽媽文學」的窠臼,琴川的母性流露不多,偶然書見也能自然,如〈岩川之夜〉中的「蒼涼的容顏裡裸袒著母性的悲懷」跟著立刻就有「生命因為染霜而更見深淨遼曠」的經歷自部A絕不只是軟性的俗套。「風吹過你在那裡」一首:二段中醜感特具強力,筆者願予讚部A這是她與一般女性書手溫美流俗的大不同處。而在末段:「也陰N有一艘船泊在海灘/也閉菻銂L裡會有人懸起一盞燈/也野u是無際的落山風低吼著荒涼」由微妙的希冀漸至失望的體認,一如張愛玲作品中的「人生荒涼,人性蒼涼」。眾生之路,不是白淨細美的沙灘,不是柔軟的泥土,而是嶙峋難行的石之磊砢!
四、細雪紛覆在夢想的額際
筆者以為琴川屬於長於才情的智者,智者樂水,水意象在這一輯中湧現。在〈靜坐一座山〉中,「水」超離了「山」「流成一條深深淺淺的河」;在〈水的句讀〉中有母性自況,赤足的孩子在淺河捉蝌蚪,逗點的身影一如蝌蚪,由此延伸到「浮游歲月中不斷地成長蛻變?」更好的是〈水之變奏〉中的想像馳騁,以雲遊、雨歌、河說、海想逐漸擴大水的意象,歸結於「露偈」的禪境,由小而大,再由大而小,是宇宙循環的定則,人生圓形回歸的理念,同時也是朝露日晞、生命苦短的歎息。
仍多有生命轍跡:〈化蝶〉中有蛻變的嚮往。〈石徑〉中有緣運的禪境。〈湖箋〉一首中有「夏日湄畔,那最後的一朵玫瑰/霞紅箋頁上戀戀行吟」的情真。以及末段出現的雪的意象,在溫熱無雪的居所悄然翻出,是否詩人心情清冷寥落的象徵?「桐花」意象出現可比「芒花」甚且相應,在前已析白芒衰颯,而「乘風舞落一朵朵驚歎」(〈桐花節〉)與「木魚敲落一樹的桐花如夢」(〈又見油桐花〉)在此與芒花相連,具現出淡悒悵觸無限。
這一輯中包羅較廣,〈故園〉一首中有「聞著母親般芬芳的體味」的鄉愁。〈旅情〉中的「飛越千山萬水」「而旅程正長別酒一杯/眼與眼交錯著不捨/心與心牽念著低徊」在此不是「桃李春風一杯酒」的遇合,而是「江湖夜雨十年燈」深婉沉重的離情憶念。使筆者激賞的有〈梨情〉一首中「送你一個梨道別/美麗的故事說/記得把子仔帶回以心相會」「你拒絕了我的梨/卻要我記得你的名/只因此生重逢渺渺無期」,琴川在此有所超越,修辭不屬瑰麗而近白描,筆者以為,黯然銷魂者唯別而已,既是「生別常惻惻」的人所共鳴,原就是不必著踵事增華的。
旅遊記敘題材雖屬一般,但在琴川的筆下卻也能見深婉:如「在馬背聽到風的呼喚/穿越時空的峰峰巒巒/馬的血脈裡流著奔馳的宿夢」(〈特勒吉之歌〉)「我們是來自漠漠宇內的塵沙/遙遙播下願望的種子/風在沙地鏤刻著歲月版畫」(〈響沙彎〉)有如席慕蓉的膾炙人口之句:「為什麼唱你時總不能成聲/寫你不能成篇/而一提起你便有烈火焚起/火中有你萬里的軀體/有你千年的面容/有你的雲,你的樹,你的風」(〈長城謠〉)感人之處不在景,不在句,而是如王國維所述「寥寥八字,遂關千古登臨之口」(〈人間詞話〉)評李白〈憶秦娥〉)所傳達的八千里路雲和月的歷史蒼茫。
五、感知宇宙蒼茫的飄落
五輯中有一般性題材的親情,甚且可以窺見她的戀父情結,自〈守候在生命的戰場前〉中「在夕陽掉落之前,門終於開了/蒼白疲憊的您自戰場平安歸返」的手術後到〈靜夜思父〉「以為所有情節尚待發揮/故事卻已戛然完結」的永訣,琴川在〈思懷〉中尋父:「那一扇才是通向您往生之路/尋您在每一個深寂的夜」。儘管「煙的一生既已注定/相對悲傷便顯得不那麼沉重/化煙者的參透亦或/觀者若有所悟之說。」(〈尋找化煙的父親〉)已知死別吞聲的難免,但仍有「而我仍眷戀著燃燒的溫度」「在灰燼裡撿拾回憶的骸骨」不忍的愴然。
誠如這一輯的命題,詩人人生茫昧的感知恁重:在〈不捨〉一首中已指出「宇宙蒼茫」,另在〈秋顏〉之中充具特異表現,如:「嗩吶的悲音戳破山野之夢/斷續風裡凋落一地的花魂/祭弔生死無以言喻的空茫。」筆者又以為她很像我所心儀的晚唐李賀,詩境有如〈秋來〉中的「桐風驚心壯士苦,衰燈絡緯啼寒素,誰看青簡一篇書,不遺花虫粉空蠹,思牽今夜腸應直,雨冷香魂弔書客,秋墳鬼唱鮑家詩,恨血千年土中碧」,李長吉寂寞當世,在現代已被認為是超現實的先驅詩人,價值具在。他之所以慣用陰森怖慄的幽冥意象,作用是在以恐怖快感的昇華,忮求獲致生命痛苦的平衡。(理念同於亞力斯多德的悲劇定義:「憐憫與恐怖」)。不知琴川詩作的意象之源,是否與此關連?
六、評估作結
天地不全,人為之事絕無十全,文藝創作也不例外,琴川詩作,難免微疵。筆者以為可議之處有二:一是用詞之未能避免口號,如詩題〈守候在生命的戰場前〉,二是部份詩作結尾顯明,餘味有損,如〈高砂百合〉的「聖潔之花在母親的島上開遍」。〈堆積木〉的「試圖堆疊出文字的殿堂」。〈海誓〉的「都只為了將痕@華,煉成珍珠的光潔無瑕」。筆者認知文學新舊同源,古典是現代的源流根植;現代是古典的延伸發皇。古典源承的含蓄雋永必應循行,詩作可以明朗,但卻忌「過」。它既是文學中的文學,就該重在感染,引領而非主觀顯示。為的是要提供寬廣的想像天地,容讀者自去尋索,促使讀者「自得」。此外,鑒於優劣互見一體兩面的不全性,文學創作,明朗雖然能收廣知之效,但若過於平淺,必然影響藝術的不足。
二十年前,琴川曾在我教授現代詩的講堂中受業半載,當時即因有雛鳳清音之鳴為我賞識,詩作刊載在師大國文系現代文學結集《長青樹》中,半年之後這小女娃杳如黃鶴,久久方知她轉學他校。其後也曾收到她的詩集,欣慰她已卓然有成。二十年後重續師生香火,評估學習,她更不負重望,獲得了最高的評價。
她的詩風婉美深沉,形構多屬「豆腐干」。小詩極具精緻,組詩恣放可見奶O。誠如扉頁〈小詩〉所示:是「掠過心湖的翅影」的生命點滴:是「果實在風中的留言」蛻變辭枝的眷戀;有如鳥翅掠過心湖迅疾的短美,更有「雨後掛在樹梢晶澈的眼睛」的明亮。
既然文學批評是一種再創造,以上所述,或與琴川詩境近似;又或能夠疊合;甚或有超離。智者如琴川者,當能了解。已不能用現代詩為評作結(此調不彈久矣),此篇之末,就用同源的舊體為贊:
琴音清冷
川流長澈
長澈可鑑
清冷絕色
                    


作者: 楊昌年   時間:2001-11-16 00:00:00  來源:163.20.3.11
—回覆—       麗姬魚兒的IP位置:61.219.197.58

親愛的琴川2001/11/16這裡所貼的這一系列文章
魚兒已在秋水詩刊上拜讀過但是,我覺得您能繼續選些類似的作品貼在此更能在詩的教學上彰顯這個網站的弁?br>
如同音樂一般,學過音樂,不表示每個人都會
成為演奏家或作曲者但是,至少首先學會怎麼欣賞

作者-評論者-讀者是好詩傳動的鐵三角
我很欣喜地讀到這些文章
對讀者來說最完整的愉悅是直接去讀詩集或詩選但,身處忙碌的e時代,煮茶聊詩區所轉貼的這些文章是非常必要的
雖然,進入此區,常覺得自己膚淺得難以置喙
哪還聊得起來^_^
沉默不代表沒有作用ㄛ
魚兒,還是只能表達出感謝謝謝在這裡貼過文的詩友或前輩們







作者:麗姬魚兒   日期:2001-11-30 00:00:00 來源:61.219.197.58


〔秋水討論板 V2.0〕〔PHP+CodeIgniter版本作者:小p〕〔〕〔網站〕〔原作者:Yuzi工作室
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