楊牧（1940-）在詩集《涉事》的後記裏，以詩人與武士對位，稱「旗幟與劍是他挺進的姿勢，詩是我涉事的行為。」涉事，若隱喻詩人以詩為劍，介入現實。然詩人的實際行動，是「綠騎」（Green Knight）的戰鬥，還是唐吉軻德的妄想？楊牧這個對位還有第二層指涉，即武士乃依神諭，一不可質疑的形上智慧行事；詩人卻不能確定神諭，以致錯失良機，成長遲緩。楊牧儘管不無愧歉，隨即暗示，「詩之形成」是詩人為銜接自我與武士（超我）差距，所作的努力。 有趣的是，問題若僅在接受神的呼召（即神諭），楊牧為何遲遲不肯就範？是否，唯如此詩才能無限發生，猶如阿基理斯與烏龜競速，日取其半，萬世不竭？這與楊牧散文《疑神》的表態，詩是「文學和藝術所賴以無限擴充其真與美的那鉅大，不平凡的力」，能否互詮？本文以為是可能的。藉楊牧「涉事」與「疑神」這組概念的溝通，楊牧既介入又疏離的美學姿態，及詩的本體論，將得到較深刻把握。質言之，「詩」是自我趨近超我，趨向人神同形同性（physiomorphism）的努力；而保留詩與現實的距離、詩人與武士的距離、人與神的距離，詩才有動機。這正是楊牧的浮士德精神（Faustian spirit）。;One year after the lifting of martial law in 1987, Yang Mu started writing “The Sceptic: Notes on Poetical Discrepancies” and published it in 1993. By reading these intellectual and poetic essays, we will have some clear thoughts about his concerns. The unique religious, political and cultural views were all involved in his works. He was a poet who didn’t satisfy only with romanticism, but was also a bellwether beyond this. In my paper, I will discuss why Faustian spirit was important in the study of Yang Mu’s venture or “Intervention”, and how a person believing the intellectual autonomy was sketched as a Sceptic.
