享感知經驗，同時以自己創作過程為例，細細剖析 藝術創作之過程。如他在為劉國松《月球漫步》題 寫詩歌時，將自己想像成在月球漫步的阿姆斯特朗， 位置的變化讓詩人忽然想到李白那流傳千古的詩句 「舉頭望明月，低頭思故鄉」，應該倒過來改為「舉 頭望故鄉，低頭踏明月」。自然的聯想和想像獲得 了古詩所沒有的美感效果和空間，可謂是美感經驗 互通的最佳範例。 閱讀與意象 在工作坊上，余光中鼓勵學生多讀書，他認為開卷有 益，但同時強調盡信書不如無書；他看重舊小說介乎 文言和白話之間的那份文辭之美，認為中文寫作時應 注重文字本身的美，而不可以追求故事。 余光中告知文學初寫者，剛寫詩歌時不要感歎人生， 不寫哲理，而寫個人的、家庭的情感。詩要由一個主 題、思念、感情，靠具體的形象表達出來。他舉《七 步詩》的例子，認為這正是用看得見的具體東西，把 握看不見的情緒的最佳案例。他認為意象和節奏是詩 歌表達的兩大重點，學生不妨從鍛煉、操縱意象開始。 他建議，先看作家的選集，從模仿做起，三五年之後， 就可以達到超越的時代；同時要堅持寫，每天都動腦 筋寫幾句給自己看。余光中以自己為例，初寫詩歌 時，他曾模仿新月派，寫了一些生硬的豆腐塊詩歌； 後來受中國古風的影響，寫詩不分段，再後來隨著認 知的提升，詩體、題材都有較大的拓展。 based on the same story of Jesus’s last supper with his disciples recorded in the Gospel of Mark. Yu shared his experience with the audience from the perspectives of colour, composition, and modelling in painting. He used one of his poems, which was inspired by Liu Guosong’s painting Walking on the Moon, as an example to explain how a new work can be created by transforming artistic experience. When he was creating the poem, he said, he was imagining himself as Neil Alden Armstrong taking a leisurely stroll on the moon, when it suddenly occurred to him that the two lines from the famous poem by the Tang dynasty poet Li Bai,“Looking up, I see the bright moon; looking down, I think of my hometown,” perhaps should be re-written into “Looking up, I see my hometown; looking down, I’m walking on the bright moon.” This transposition came naturally from his active imagination, giving birth to a new poem with a fresh aesthetic appeal and dimension the original poem didn’t have. Reading and Imagery At the workshop, Yu encouraged the students to read more, as one could always benefit from reading, but he also stressed that if one believes everything one reads, one might as well not read at all. He loves classical Chinese literature, which was written in a language in between vernacular Chinese and classical Chinese, for their beauty of words. He advised the students to put the beauty of words before story-telling in their own writing. He advised beginning poets to write about personal experiences and emotions instead of life and philosophy. He believes that the abstract theme or emotion of a poem needs to be expressed through concrete imagery. He cited “The Quatrain of Seven Steps”, a poem by Cao Zhi from the Three Kingdoms period, which he thinks is one of the best examples of expressing an abstract emotion with concrete imagery. In addition to imagery, he told the students, rhythm is also very important for poetry. Indeed, he explained, imagery and rhythm are the two key tools by which poetry express beauty, and he advised the students to start with practicing how to become better at using imagery. He suggested that beginning poets should start with reading and imitating works by established poets and practicing writing every day, even when it feels hard to come up with anything and even if there are no other readers except themselves; and if they keep doing this, it is possible to surpass their role models within three to five years. When he first started writing poetry, he told the students, he used to imitate the Crescent Moon School and wrote some awkward modern metrical poetry and later, under the influence of classical Chinese poetry, started to write poems with no stanza breaks. As his understanding deepens, his poems began to acquire a much greater breadth both in style and in subject. 余光中於席上仔細聆聽學生朗讀其作品 Yu Kwang Chung listens as the students read his poems UMAGAZINE ISSUE 10 34 人物專訪．INTERVIEW
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