詩人洛夫作品中的「通感」
第一節、詩魔的絕技
在台灣新詩人裡，詩人洛夫和鄭愁予備受推崇，洛夫被尊為「詩魔」；詩人鄭愁予則有「浪子」的美名。洛夫的詩魔其來有自，就筆者對其詩作的分析，洛夫想像奇詭，經常有令人驚嘆的詩句，從修辭格考察，洛夫擅長使用「通感」、「誇飾」和「超現實」，這三類高階的表現手法，使得他的詩句經常出現「蒙太奇」式(Montage)的超現實情境和無理而妙的意境，相當地吸睛。在這篇短文裡，先探討洛夫詩裡出現的各類型通感。

"Synesthesia" in the Works of Poet Lo Fu

Section 1: The Magic Skill of Poetry

In Taiwan's contemporary poetry scene, poets Lo Fu and Cheng Chou-yu are highly regarded, with Lo Fu being revered as the "Poetry Magician" and Cheng Chou-yu nicknamed "The Prodigal Son." Lo Fu's poetic magic is self-evident, as revealed through the author's analysis of his poetry. Lo Fu's imaginative and often stunningly impressive poetic lines showcase his expertise in using synesthesia, exaggeration, and surrealism, three advanced techniques that frequently create surreal situations and captivating imagery resembling a "montage." In this short essay, we will explore the various types of synesthesia found in Lo Fu's poetry.

第二節、洛夫的通感手法
「通感」(Synaesthesia)，又稱「移覺」（移就）¹，「移覺是一種運用具體生動的語言，通過更換感受角度來描述事物的性狀和情貌的修辭方式。」²。「通感是指把某種感官所感覺得到的事物的性狀，從另一種感官的感覺中表現出來。英國著名音樂家馬利翁說：「聲音是聽得見的色彩，色彩是看得見的聲音。」³，正說明聲音與色彩可以互通，感官間的交互作用是存在的。

通感的表現形態，劃分標準大別有兩種：
（一）以是否借助其它修辭方式，分為1、直接式通感和2、借助式通感。
（二）感官會通聯想：以通感所適用的感官及其交互對象感官，分為1、聽覺移植，2、視覺移植，3、嗅味覺移植，4、觸覺移植、5感官多重交感。
詩人洛夫無一遺漏全都用上，可見洛夫感官敏銳程度，遠勝過同時代詩人。

Section 2: Lo Fu's Synesthesia Technique

Synesthesia, also known as "cross-sensation" or "trans-sensation," is a rhetorical device that utilizes vivid and concrete language to describe the characteristics and qualities of things by changing the sensory perspective. "Synesthesia refers to the expression of the characteristics of a certain sensory perception in terms of another sensory perception. As the renowned British musician Marillion said, 'sound is the visible color, color is the audible sound,' which explains that sound and color can be interchangeable and that there is an interaction between the senses.

There are two main ways to categorize the forms of synesthesia: (1) Based on whether or not it utilizes other rhetorical devices, it is divided into direct synesthesia and indirect synesthesia. (2) Based on sensory associations, it is categorized into auditory transplant, visual transplant, olfactory-gustatory transplant, tactile transplant, and multiple sensory interactions.

Lo Fu employs all of these types of synesthesia in his poetry, showcasing his heightened sensitivity to sensory perception that surpasses that of his contemporaries.

1、聽覺移植

〈金龍禪寺〉⁴

晚鐘

是遊客下山的小路

羊齒植物

沿著白色的石階

一路嚼了下去

李元洛評說：「『晚鐘』的聲音是聽覺形象，下山的『小路』是視覺形象，鐘聲悠揚，小路彎曲，它們可想和可見的外形有相似之處，於是洛夫便有了這一視、聽審美通感。」⁵，此種「化聲為形」，由「聲音→視覺」感官挪移手法，同樣見諸於下列段落：

1. Auditory Transplantation

"Jinlong Zen Temple"4
The evening bell
Is the small path for tourists descending the mountain
Plantain herb
Chewing along the white stone steps
Li Yuanluo commented: "'The sound of the evening bell' is an auditory image, and the 'small path' down the mountain is a visual image. The bell rings melodiously, and the path twists and turns. They have similarities in appearance that can be imagined and seen. Therefore, Lofu has this visual and auditory aesthetic synesthesia."5 This "transforming sound into form" technique, using the sensory transfer method of "sound → vision," is also found in the following paragraphs:

〈西貢夜市〉⁶

嚼口香糖的男子

把手風琴拉成  

一條那麼長的無人巷子

"Saigon Night Market"6
The man chewing gum
Pulls the accordion into
An empty alley so long

The accordion player walks along the deserted alley, and the melody he plays resonates in the poet's ears, but he imagines it as if the accordion player is pulling out a long alley. This technique of transforming sound into visual imagery is a distinctive feature in Lofu's works.

2、視覺移植
〈隨雨聲入山而不見雨〉⁷

下山

仍不見雨

三粒苦松子

沿著路標一直滾到我的腳前

伸手抓起
竟是一把鳥聲

〈迴響〉⁸

怎麼也想不起你是如何瘦的

瘦得如一句簫聲

試以雙手握你

你卻躲躲閃閃於七孔之間

「化形為聲：由視覺向聽覺挪移」，此類型的感官接合方式，在詩人洛夫的「通感」辭格裡，相當常見，也最具特色，諸如：「三粒苦松子∕沿著路標一直滾到我的腳前∕伸手抓起∕竟是一把鳥聲。」，不僅音效奇佳，並且想像奇詭，稍有眼力的內行讀者，看到這類句子，多半猜得到是出自詩人洛夫的手筆。

「怎麼也想不起你是如何瘦的∕瘦得如一句簫聲」，視覺形象通過比喻，把清瘦的形像說成是一句簫聲，如此令人嘆為觀止的想像力，正是使用「化形為聲」的通感手法。除此，「化形為味嗅觸：由視覺向味覺、嗅覺、觸挪移」，洛夫也使用得毫不含糊，如：
〈華西街某巷〉⁹

一位剛化過粧的女人站在門口

維持一種笑

有著新刷油漆的氣味

另一位蹲在小攤旁

一面呼呼喝著蚵仔湯

一面伸手褲襠內

抓癢             

把女人的微笑刷上一層油漆的味道，這種創意的確令人感到拍案叫絕。詩人嘴裡不講出那個妓女用廉價化妝品塗抹濃妝，卻拐個彎在心裡嫌她化妝後的氣味，像剛刷過新油漆般刺鼻。

2•Visual Transplantation

"In the Rainy Mountains,I Enter Without Seeing the Rain"7
Descending from the mountain,
still no sign of rain.
Three bitter pine nuts
roll along the signposts until they reach my feet.
I reach out to grab them,
only to find a burst of bird song.

"Echo"8
I can't recall how you became so thin,
thin as a single note on a flute.
I try to hold you in my hands,
but you dart and hide between my seven apertures.

"Transplanting Form into Sound: Moving from Visual to Auditory Perception." This type of sensory fusion is commonly seen in the poetic device of "synesthesia" by poet Luo Fu. It is not only distinct but also striking, such as in the lines "Three bitter pine nuts / roll along the signposts until they reach my feet. / I reach out to grab them, / only to find a burst of bird song." The sound effect is exquisite, and the imagination is eerie. Experienced readers can mostly guess that these sentences were written by Luo Fu.

"I can't recall how you became so thin, / thin as a single note on a flute." By using metaphor to describe the image of slimness as a single note on a flute, this line is a remarkable display of imagination using the synesthesia technique of "transplanting form into sound." In addition, Luo Fu is also adept at "transplanting form into taste, smell, and touch: Moving from Visual to Olfactory, Gustatory, and Tactile Perception," as demonstrated in the following lines:

"In a Lane on Huaxi Street"9
A woman who just put on her makeup stands at the door,
maintaining a smile.
There is a scent of fresh paint.
Another woman squats by a small stall,
sipping oyster soup noisily,
while scratching an itch in her pants.

The taste of the woman's smile painted with a layer of paint, this creative description is truly impressive. The poet doesn't explicitly say that the prostitute used cheap cosmetics to put on thick makeup, but instead, indirectly portrays her post-makeup scent as pungent as freshly painted walls.

3、嗅味覺移植
〈蛇店〉¹⁰

有毒一刀

無毒也一刀

梟首而後剝皮

嘶的一聲

好一身又白又嫩的赤裸

而後腰斬

而後熬成一鍋比淚還濃的湯

「熬成一鍋比淚還濃的湯」，是味覺的濃湯混合了視覺的淚，肉身與血淚的揉雜。真要是這樣的一鍋湯，恐怕老饕們大概會難以下嚥吧？這當然是詩人出於惻隱之心所做的觀照，他自己看完蛇被剝皮斬切的大刑之後，大概也沒什麼胃口了。從這段詩行裡，可知「通感」也可以在一行之間，以最簡潔精鍊的形態來演出。

〈水涯〉¹¹

而此時，有髮香蜿蜒而來

如清泉流過唇際

驀然反身，居然見到

你眼中開放了

一池那麼動人的睡蓮

「髮香蜿蜒而來∕如清泉流過唇際」是香味與味蕾在想像中的遭遇，嗅覺往味覺的挪移與混合。善用感官挪移（通感），可以激發創意、導引聯想。詩人用鼻子湊近去嗅妻子的髮香，卻把髮香比喻成清泉，蜿蜒而來流過唇際，可以真實地嚐到，這樣的手法，的確令筆者激賞。

3•Olfactory and Gustatory Transplantation

In "Snake Shop,"
one slash whether venomous or not,
then decapitate and peel the skin off.
A hiss echoes,
revealing a body that's white and tender,
before being halved at the waist.
Finally, it's boiled into a pot of soup,
thicker than tears.

"Thicker than tears" refers to the mixture of taste and vision, where the body and tears mix together. If the soup is really like this, I'm afraid foodies would find it hard to swallow. Of course, this is the poet's observation out of empathy, and after witnessing the snake being skinned and chopped, he probably lost his appetite too. From this verse, we can see that "synesthesia" can also be performed in a concise and refined form in just one line.

In "Waterfront,"
at this moment,
a scent of hair curls up,
like a spring flowing over the lips.
Suddenly, turning back, surprisingly,
you see in my eyes,
a pool of enchanting water lilies.

"The scent of hair curls up, like a spring flowing over the lips" is the encounter of scent and taste buds in imagination, where the olfactory sense is mixed and transferred to the gustatory sense. Making use of sensory transfer (synesthesia) can stimulate creativity and guide associations. The poet leans

4、觸覺移植
〈火中的天使〉¹²

你嫌我的血不夠熱

眼中有霧

髮如秋草

小腹多脂

而手冷似蛇

大笑起來有著日蝕的驚怖

「手冷似蛇」是觸覺「冷」的形象（視覺）化，借用比喻的外觀，表現觸覺和視覺間的感官互通。「大笑起來有著日蝕的驚怖」，則是聲音透過與視覺的比喻聯結在一起，表現驚悚恐佈的特效。

洛夫〈長恨歌〉¹³

一雙翅膀

飛入殿外的月色

漸去漸遠的

私語

閃爍而苦澀

本小節中的「翅膀」和「月色」都是「視覺意象」，經由「通感」的接合作用，與代表「聽覺意象」的「私語」產生勾連，亦即先由「視覺意象」挪移至「聽覺意象」；接著再進一層透過「通感」的接合作用，將「聽覺意象」與代表「視覺意象」的「閃爍」及代表「味覺意象」的「苦澀」取得勾連。「閃爍」是「視覺動詞」，「苦澀」是味覺形容詞，在此攜手合作，共同將「私語」此一具體可聞的意象予以「情意化」，筆者稱之為「化實入虛」。

4•Tactile Transplant
"The Angel in the Fire" 12
You said my blood was not hot enough,
Eyes misty,
Hair like autumn grass,
A belly full of fat,
And hands cold as snakes,
Laughing with the horror of an eclipse.

"Cold as snakes" is the visualization of the tactile sense of "cold" and the use of a metaphorical appearance to express the interconnection between touch and sight. "Laughing with the horror of an eclipse" combines sound with vision through metaphor to create a frightening effect.

Luòfú's "Song of Everlasting Regret" 13
A pair of wings
Flies into the moonlight outside the palace,
Whispers that gradually fade away
Flashing with bitterness.

In this section, "wings" and "moonlight" are both "visual images". Through the use of "synesthesia", they are connected with the "auditory image" of "whispers", first shifting from "visual images" to "auditory images". Then, through the use of "synesthesia", the "auditory image" is connected with the "visual image" of "flashing" and the "taste image" of "bitterness". "Flashing" is a "visual verb" and "bitterness" is a taste adjective. Together, they "emotionally" present the tangible and audible image of "whispers", which the author refers to as "transformation of the concrete into the abstract".

5、感官多重交感

〈共傘〉¹⁴

共傘的日子

我們的笑聲就從未濕過

沿著青桐坑的鐵軌

向礦區走去

一面剝著橘子吃

一面計算著

由冷雨過度到噴嚏的速度

這首短詩也是使用「通感：感覺交錯」的實例，「我們的笑聲就從未濕過」，是將聽覺意象（笑聲）和觸覺意象（潮濕）相接合，以與前句「共傘」相互呼應。「由冷雨過度到噴嚏的速度」則是反過來將觸覺意象（冷雨）和聽覺意象（噴嚏聲）相接合，形成類似物理學上的「可逆反應」，這種結構設計，相當罕見。足見詩人洛夫除善長使用「誇飾辭格」之外，對於「通感：感官交錯」的掌握也相當老練。

5•Multiple Sensory Synesthesia

"In Shared Umbrella"14
On the days we shared an umbrella,
our laughter was never wet
as we walked towards the mining area
along the iron tracks of the Qingtong Pit
peeling oranges and calculating
the speed from cold rain to sneezing.

This short poem is also an example of "synesthesia: sensory intertwining." The line "our laughter was never wet" combines the auditory image of laughter with the tactile image of wetness, echoing the preceding phrase "shared umbrella." The line "the speed from cold rain to sneezing" reverses the combination, linking the tactile image of cold rain with the auditory image of sneezing, forming a reversible reaction akin to physics. This structural design is quite rare, showing that the poet Lu Xun has a keen grasp of "synesthesia: sensory intertwining" in addition to his mastery of "hyperbole."

【註解】

〈1〉移覺與通感的區別：「移覺只是感官之間形容詞的挪用，彷彿叫人用眼去聽，用耳朵去看，比較偏守在器官之間；但是，因見紅色而感到溫暖，對綠色覺得寒涼，比較偏向移情的目的。」，亦即「移覺」為感官經驗的互通，「通感」為統攝感官經驗的「心覺」。參見黃麗貞著〈實用修辭學〉（增訂版），
     2004年，台北：國家，頁169。

〈2〉楊春霖、劉帆主編〈漢語修辭藝術大辭典〉，西安：陝西人民，1991，
     頁1129。

〈3〉自李元洛著〈詩美學〉【論詩的通感美】，台北：東大，1990年，頁536。

〈4〉錄自洛夫著〈魔歌－洛夫詩集〉，台北：蓬萊，1981年，頁46–47。

〈5〉李元洛〈詩美學〉【論詩的通感美】，台北：東大，1990年，頁547。

〈6〉錄自洛夫著〈魔歌－洛夫詩集〉，台北：蓬萊，1981年，頁10-11。

〈7〉錄自洛夫著〈魔歌－洛夫詩集〉，台北：蓬萊，1981年，頁25－26。

〈8〉錄自洛夫著〈夢的圖解〉，台北：書林，1999年，頁48－49。

〈9〉錄自洛夫〈月光房子〉，台北：九歌，1990年，頁61。

〈10〉錄自洛夫著〈釀酒的石頭〉，台北：九歌，1983年，頁93－94。

〈11〉錄自洛夫著〈釀酒的石頭〉，台北：九歌，1983年，頁93－94。

〈12〉錄自洛夫著（1981）〈時間之傷〉，台北：時報，頁201－204。

〈13〉錄自洛夫著〈魔歌－洛夫詩集〉，台北：蓬萊，1981年，頁134－145

〈14〉錄自洛夫著〈釀酒的石頭〉，台北：九歌，1983年，頁11

[Note]

1) The difference between "移覺" and "通感": "移覺" is simply the use of adjectives between different senses, as if asking people to use their eyes to listen and their ears to see, which is more focused on the exchange between organs; but feeling warm when seeing red and feeling cool when seeing green are more inclined towards the purpose of "移情". "通感" is the "perception of the mind" that encompasses sensory experiences. Refer to Huang Lijin's "Practical Rhetoric" (Expanded and Revised Edition), 2004, Taipei: Guojia, p.169.

2) Yang Chunlin and Liu Fan, eds. "Great Dictionary of Chinese Rhetoric Art", Xi'an: Shaanxi People's Press, 1991, p.1129.

3) From Li Yuanluo's "Poetic Aesthetics" [On the Synaesthetic Beauty of Poetry], Taipei: Dongda, 1990, p.536.

4) Quoted from Love's "Magic Song - Love's Poems", Taipei: Penglai, 1981, pp.46-47.

5) Li Yuanluo, "Poetic Aesthetics" [On the Synaesthetic Beauty of Poetry], Taipei: Dongda, 1990, p.547.

6) Quoted from Love's "Magic Song - Love's Poems", Taipei: Penglai, 1981, pp.10-11.

7) Quoted from Love's "Magic Song - Love's Poems", Taipei: Penglai, 1981, pp.25-26.

8) Quoted from Love's "Interpretation of Dreams", Taipei: Shulin, 1999, pp.48-49.

9) Quoted from Love's "Moonlight House", Taipei: Jiuge, 1990, p.61.

10) Quoted from Love's "The Stone for Brewing Wine", Taipei: Jiuge, 1983, pp.93-94.

11) Quoted from Love's "The Stone for Brewing Wine", Taipei: Jiuge, 1983, pp.93-94.

12) Quoted from Love's "The Wound of Time" (1981), Taipei: Shitou, pp.201-204.

13) Quoted from Love's "Magic Song - Love's Poems", Taipei: Penglai, 1981, pp.134-145.

14) Quoted from Love's "The Stone for Brewing Wine", Taipei: Jiuge, 1983, pp.11.