Yang Mu was born in 1940 in the small coastal city of Huilan in east Taiwan as Ching-hsien Wang. He received his BA in English from Tunghai University in Taiwan, his MFA from the University of Iowa, and his PhD in comparative literature from the University of California at Berkeley. He has taught at many universities in North America, Taiwan, and Hong Kong, but he spent most of his academic career at the University of Washington, Seattle. He has also served in important administrative positions, including the founding dean of the School of Humanities and Social Sciences at the National Dong Hwa University in his hometown of Hualian and the founding director of the Institute of Literature and Philosophy at Academia Sinica, the premiere national research institution in Taiwan. He currently holds an endowed chair at Dong Hwa.

Yang Mu has been writing poetry continuously for sixty years. The longevity of his career is matched by his extraordinary creativity, which has exerted a transformative influence on Taiwanese poetry in general from the 1950s to the present. His poetry assimilates the best that the Chinese and the Western traditions have to offer, deftly blending classicism and surrealism, romanticism and modernism. His poetry may be lyrical or dramatic, contemplative or defiant, elegiac or erotic. In an age when poetry is indisputably considered to be minority literature, Yang Mu enjoys enduring popularity among readers of several generations. His accomplishments beyond the realm of poetry are demonstrable in prose, literary criticism, scholarship on classical Chinese poetry, comparative literature, and editing, as well as the translation of poetry.

Yang Mu has been married to Ying-ying Hsia for thirty-five years; they have a son, Bruce.────Michelle Yeh

Works

海岸七疊(1980)


《海岸七疊》(The Coast with Seven Turns: Collected Poems)(台北:洪範,1980)

〈帶你回花蓮〉導讀/曾珍珍

        這首詩完成於19757月,為台灣現代詩寫出了對家園最甜美的頌讚,對婚姻最美麗的憧憬─重返伊甸樂園。是什麼樣的愛情觸動了這麼美麗的憧憬?什麼樣的山水勝境,可以讓詩人把家鄉花蓮比擬成伊甸樂園?什麼樣的允諾和應許可以呈現給所愛的人,勝過對家園全心的愛、對自由的嚮往?詩用櫻樹起興,以櫻樹吐蕾到盛放、陽傘打開的意象,從羞澀到狂烈,寫愛情的進展。然後,以「不許傾聽的聲音,又不許凝視的眼色」,以保羅•克利般富有神秘詩意的抽象畫面,寫出初夜的交合─「電擊的光明」,這是「讓我們一起向種植的山谷滑落」去印證創生神話的開端。重返伊甸的母題自此貫穿餘下詩章。在伊甸園神話中,亞當是個命名者。神話的伊甸,河川與山岳尚未命名,詩人/亞當依續著起興的櫻樹意象,用台灣原生的花種,潔白的百合和華麗的蝴蝶蘭,為它們命名,從一千朵到一萬朵,喚出遍地繁花競生的樂園景觀。然而,更令人神往的,詩人期許只要有愛,神話可以落實,落實在家鄉花蓮,一個活生生存在的地域,可以用地圖繪出,用氣象數據形容。容許靠耕讀傳家,它是心靈的桃花源,卻非烏托邦;它是溫和的土地,不受極權宰制的自由樂土,在這裡,「聽不見那絕對的聲音,看不見那絕對的眼色」。這裡唾棄戰爭,但願海面沒有軍艦,只有漁船捕魚,六艘羅列海面,構圖如宋人牧谿名畫那六顆柿子,烹鮮甘果,供人溫飽。這裡的海涼和山色與人靈氣相通,人們以自然為師,從中習得了對和平、素潔的嚮往。吾愛,詩人輕呼,讓我們無拘無懼相愛,像櫻樹粲然花開,這是我們的家鄉。19754月,蔣介石去世。3個月後,楊牧藉著這首詩替台灣人寫出了心目中自由樂土的家園想像。



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