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上世纪五六十年代,国民党施行白色恐怖苛政,禁绝大陆文学,文坛顿成沙漠。于此时际,当局扶持《现代诗》《蓝星》《创世纪》诗刊逐步发展,三家诗刊的成员,几经分合,汇成泛现代诗派,长期占领了台湾主流诗坛。泛现代诗派,在五十年代的前行者,多为二十岁上下习诗年轻人,他们遵循当局文艺政策,作品编织梦幻,远离社会现实,力求在语言形式方面发展。其中,唯有痖弦和商禽两位,创造了内容形式俱足吟味的诲品。痖弦才赋优异。他的诗,起点高,原创力强。杨牧指出:“痖弦的诗,甚至成为一种风尚、一种传说;抄袭模仿的人蜂拥而
In the fifties and sixties of the last century, the Kuomintang implemented white terror and tyranny, banned mainland literature and literary circles into deserts. At this juncture, the authorities supported the progressive development of the poems ”Genesis“ in ”Modern Poetry“ and ”Blue Star“ and ”Genesis.“ The members of the three poems and periodicals were divided into several groups and merged into a pan-modernist school of poetry, occupying Taiwan’s mainstream poetry community for a long time. Pan-modernist poets, as pioneers in the 1950s, were mostly young writers who went to school at the age of 20. They followed the cultural and political policies of the authorities and weaved their dreams away from the realities of society and sought to develop their linguistic forms. Among them, only the strings and the commercial two, to create a form of content of Yin Yin whispered goods. Chu string talented people excellent. His poem, high starting point, strong original. Yang Mu pointed out: ”Pian string poetry, or even become a fashion, a legend; copying imitation of people flocking