晚清民初之际,时局动荡,台湾诗人先后经历乙未与辛亥两次重大转折,内心情绪的起伏也自然表现于诗歌书写。本论文以许南英在历史关键时间点辛亥年(1911)两组唱和诗为例,观察他如何透过杨花与春草两组传统文学意象,将政治托喻逐渐转变为个人情感的抒发。唱和本是一种应酬社交的社会文化行为,受限于题目规范与对方作品的旨趣,难以全然自由发挥。但随着个我情志的差异,我们也能在其中发现诗人幽微委曲的心境。许南英并非传统定义下的遗民,面对实际存在环境,他在中国无法觅得理想的政治空间施展抱负。又因为贫困,他不断殷殷回望长久生活的台南窥园,却依旧无法找到安身立命的地方,在离散经验中,逐渐形成一种弃绝感。 In the late Qing Dynasty and the early Republic of China, the current situation was turbulent. Taiwanese poets successively experienced two great revolutions, namely, the failure of Bethune and Xin Hai. The ups and downs of inner emotions also naturally manifest in poetry writing. This paper takes Xu Nanying’s two groups of singing and poem in Xinhai (1911) at the critical time of history as an example to observe how he gradually transformed the political metaphor into the expression of his personal feelings through the traditional literary images of Yang Hua and Chun Cao. Singing and being a socio-cultural act of socializing are restricted by the norms of the subject and the purport of the other’s works, which are hard to fully exert. But with the difference between my emotions, we can find in them the poignant connotation of the poet. Xu Nanying is not a descendant of the traditional definition. In the face of the actual environment, he is ambitious in finding the ideal political space in China. Because of poverty, he kept earnestly looking back at the long-lived Tainan glimpse of the garden. However, he still could not find a place to settle down. In the discrete experience, he gradually formed a sense of renunciation.