俠與儒－－唐文標與楊牧的文學交涉

Abstract

本論文以唐文標與楊牧在1970年代台灣現代詩論戰中的互動為核心，探討兩人在不同歷史情境下的文學立場與論述。1972-1974年的現代詩論戰激發了作家對文學傳統、中西文化及社會現實的反省與思考。唐文標素有「大俠」之稱，其批評風格直率強烈，主張詩應承擔社會責任，並推崇《詩經》、《楚辭》的集體精神；楊牧則兼具詩人、學者與出版人多重身分，既承繼陳世驤「抒情傳統」的觀念，又在詩學上追求語言技術與文化延續，呈現較為內斂的儒者姿態。 因此，本研究以「俠」與「儒」為觀察重心，透過文本細讀、歷史脈絡分析與比較研究，檢視兩人自旅美至返台後的文學創作，如何在藝術性與社會性之間展現動態的辯證互動。二人雖在論戰中常被視為光譜兩端，實則同受中國抒情傳統與西方現代主義影響，並於不同階段展現「俠」與「儒」的交錯姿態。唐文標的批判勇氣與文化自覺，對照楊牧的歷史意識與人文理想，形成相互牽引的張力，折射出台灣現代詩轉型的軌跡。藉由重新錨定唐文標與楊牧的文學交涉，提供另一種理解台灣現代詩發展及文學史轉折的視角。

This thesis examines the literary confrontation and dialogue between Tang Wen-Biao and Yang Mu during the Modern Poetry Polemic of 1970s Taiwan. The debates of 1972–1974 stimulated writers to reflect on literary tradition, on the relationship between Chinese and Western cultures, and on their engagement with social realities. Tang Wen-Biao, often regarded as a “knight”(俠), emphasized the ethical and collective dimensions of poetry, while Yang Mu, combining the roles of poet, scholar, and publisher, inherited Shih-Hsiang Chen’s concept of the “lyric tradition” and pursued linguistic refinement and cultural continuity. Accordingly, this study takes the notions of “Heroism”(俠) and “Confucianism”(儒) as its interpretive framework. It employs close reading, contextual analysis, and comparative methods to explore how the two figures navigated between artistry and social engagement from their years abroad to their return to Taiwan. Although often positioned at opposite poles of the literary spectrum, both were influenced by the Chinese lyric tradition and Western modernism, and at various stages embodied a complex interplay of “Heroism” and “Confucianism.” Tang Wen-Biao’s critical incisiveness and cultural self-awareness, in contrast with Yang Mu’s historical consciousness and humanistic ideals, generated a tension that reshaped the trajectories of Taiwan’s poetic transformation. Re-situating their literary negotiation, the thesis provides a new perspective on the development of modern poetry and the shifting trajectories of Taiwan’s literary history.