余：余光中 | 澳：《澳大新語》 澳: 與您獲得的若干榮譽相比，您如何看待澳大 授予的榮譽學位，以及如何看待澳大對您的 評價？ 余: 這也是一份榮譽，是我第四次得到榮譽博士學 位。最早一次是2003年，獲得香港中文大學 榮譽博士學位，距今已經10年了。而今再次 得到澳大頒發榮譽博士學位，這表示學術界對 我的認可，也是一種鼓勵和榮譽。我的寫作仍 然在繼續，並沒有枯竭。我和澳大之間也並不 是毫無淵源，早在姚偉彬校長在任時，就來澳 大演講過，當時演講的題目是《詩與音樂》。 在被授予博士榮譽學位 時，澳大的評價多是 溢美之詞。但是可能因 為時間關係，頒發學位 時，我有些成績沒有充 分展開。其實，除了詩 歌，我還在散文方面著 墨甚多，有十幾本散文 集，我曾經說過詩與散文，等於雙目，兩者並 存才可以呈現立體的世界，我經常說「雙目合， 視乃得」，表達的就是這個意思。詩歌是我最 早涉獵的文類，而今我在翻譯、詩歌、散文、 評論等各方面沒有偏廢。 澳: 對於社會上對您為「鄉愁詩人」的定位，您感 受如何？是欣然接受還是有所保留？ 余: 對於「鄉愁」詩人的定位，一則是喜，一則遺 憾。《鄉愁》寫的比較短，格律簡單，容易背 誦，被選入教科書後，散播非常廣。中央電視 台編曲演唱，後來王洛賓、關牧村、羅大佑等 十幾位譜曲演唱，使得「鄉愁」這個名片越來 越被世人所矚目。但是就是這張名片，把臉給 遮住了，定位雖然也貼切，但是卻狹窄了些。 比如後來我有很多寫環保的詩歌，卻難以涵蓋 其中。 Y: Yu Kwang Chung. | U: U: What do you think of the honorary degree from UM compared to the other honours you have received? And what do you feel about what was said about you in the citation? Y: It is also an honour. It is the fourth honorary doctorate I have received. I received my first honorary doctorate from the Chinese University of Hong Kong in 2003, which was about ten years ago. Receiving another degree from UM shows academia’s recognition of me, which is an honour and encouragement. I’m still writing— the well of inspiration for writing hasn’t dried up. Actually my relationship with UM goes back a little further—I gave a talk at UM when Prof. Iu Vai Pan was the rector, and I remember the title of the talk was “Poetry and Music”. The citation delivered at the degree conferment ceremony mostly consisted of kind words of praise which I don’t think I fully deserve; and perhaps due to time constraints, some aspects of my work were not elaborated in the citation. Actually, apart from poetry, I’m also a prose writer. I have published more than ten prose collections. I once said that poetry and prose are like two eyes, which, only when working together, can present the world in all its dimensions and richness. I often quote this line from Robert Frost, “As my two eyes make one in sight,” which about sums it up. I started out on the journey of writing as a poet, but now I’m involved in all the “four dimensions”—translation, poetry, prose, and criticism, without negligence to any of them. U: You have the reputation as a “homesick poet”. How do you feel about that? Are you entirely happy or are there mixed emotions? Y: Part of me feels happy, and part of me feels it’s perhaps a bit too narrow. “Homesick” is short, and has a straightforward metrical pattern, which makes it easy to memorise and recite. It started to circulate widely after it was included in the textbook. CCTV [editor’s note: a TV channel in mainland China] made a song out of the poem. Later a dozen singers and songwriters, including Wang Luobin, Guan Mucun and Lo Ta-yu, also produced different versions of songs. If “Homesick” is a business card, then its inclusion in the textbook and its adaptation into so many different versions of songs has attracted more and more attention and increased its visibility to the point that the card has covered up the face. I wouldn’t say “homesick poet” is inaccurate, but I feel it is perhaps a bit too narrow. For example, later I wrote many poems about environmental protection, which apparently don’t fall into the “homesick” category. 詩與散文，等於雙目，兩者並存才可 以呈現立體的世界。 Poetry and prose are like two eyes, which, only when working together, can present the world in all its dimensions and richness. UMAGAZINE ISSUE 10 28 人物專訪．INTERVIEW
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