ScholarWorks@숙명여자대학교

초록

The purpose of this study is to illustrate the aesthetic characteristics of Yang Mu’s 楊牧(1940- ) poems, especially focusing on his pre-1966 works, written under the pen name of Ye Shan 葉珊. In this period Yang Mu established a poetic trend that was different from the mainstream Taiwan poetics, claiming the importance of inheriting Chinese traditional poetics rather than transplanting Western Modernist poetics to Taiwanese poetic world. This study contains four parts, together with introduction and conclusion. Part One explores his life briefly and analyses his usual poetic characteristics through his famous poem “Plant of Idleness”(徒然草, 1972). Part Two examines his first collection of poetry The River’s Edge(水之湄, 1960) and revaluates his distinctive aesthetic qualities of unifying both the Chinese and Western poetry. Part Three analyzes his second collection of poetry The Flower Season(花季, 1963) and his third collection of poetry Lantern Boat(燈船, 1966), especially focusing on his new style of Neoclassicism that he wants to find a way to create the possibilities of modern Chinese poetics for the world’s greatest literature. Part Four concludes that his poetic experimentation with classical Chinese imagination and metaphor as well as technique of Western methods is superb and has a special significance in that his poems give direction to the modern Chinese poets efforts as a new milestone.

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