終端迴路與都市迷陣：林燿德文學「禪」思想的跨文類實踐

Abstract

林燿德（1962─1996）身為臺灣戰後都市文學的代表人物、以多文類／跨文類的寫作策略，構建其遼闊如星空的文學版圖。站在特殊的時代位置，林燿德具有特別的文學史意義，卻也因其戲劇性的猝逝，使他在文學史上始終難以定位。林燿德自許為「思想型作家」，藉由文類實驗的嘗試、多元多樣的作品內容、多變的跨越性，以各種手段為思想搭建連結想像與現實的橋樑。在正式出道文壇以前，受到胡蘭成、羅青、羅門等人的啟發，也促使林燿德擺脫單一向度的視野和思路。前行研究的困境在於多半停留在文學風格的整理歸納、侷限在西方後現代的偏看、迷惑於林燿德「早逝、天才、迷宮」等印象，以致難以窺見林燿德在文字之下及其背後的真實面。前人多以單一文類搭配單一主題對林燿德作品進行討論，乍看之下雖似臻於完整，卻存在著因為觀看角度不夠周全而留置的盲區。因此，本論改以全集式閱讀作為基礎，配合多篇全新出土的文本資料，重新審視林燿德全文類創作，檢視包括都市文學主張、「西方」後現代在內的文學思想，並看向林燿德文學的「東方」性。以廣義的「禪」作為探討重心，關注林燿德筆下主要的文學寫作主題，以及都市與宗教的互動關係，進而檢證林燿德所述「禪」之於人生境界、開闊生活的實用意義。本文研究發現，林燿德確實將「禪」廣泛運用在他創作生涯全期的各文類作品，並且分作三種主要的表現階段：摸索期、成熟期、成熟後的肯定階段。林燿德早期大量引用胡蘭成《禪是一枝花》書中的典故及解釋，融會中國文史和中國禪宗，直至長篇小說《大日如來》（1991）才有明顯的成熟跡象。《大日如來》雖以日本東密（真言宗）為題，然而林燿德實際上也納入了廣義的「禪」作為應用上的比較，從原始佛教的禪觀、禪定，到引用王維禪詩〈偶然作〉以及借用《維摩詰經》概念融會「心」即「道場」的說法，在在都顯示林燿德已然領會禪宗心要。此外，兩篇具有指標意義的晚期作品：小小說〈愛花的男人〉（1995）、散文遺作〈人參與蓮子〉（1996）也充分展示他對於禪佛思想的心領神會。前者已直截肯定的點出「禪」和宇宙人生的終極真理，後者則是林燿德「知性散文」在都市主題之外另闢佛教主題的成熟之作。林燿德確實在西方後現代思考之餘，另行開闢一條以「禪」為基礎的東方思考，使其文學思想入世的兼及東西、兼顧臺灣本土關懷與中國民族傳統的世界性視野，並且引領讀者在都市日常中參禪啟悟。希冀能以本論重新而完整的閱讀林燿德，補全前人尚未認識的文本，試圖還原林燿德／林耀德其人其文及其文字內外的本來面目。Lin Yao-de (1962-1996), a representative figure of post-war urban literature in Taiwan, employed both multi-genre and cross-genre writing strategies to construct a literary landscape as vast as a starry sky. Situated at a distinctive historical moment, Lin holds particular significance in the history of Taiwanese Literature. However, his sudden and dramatic passing has complicated attempts to define his place within that history. Aspiring to be a “thinker-writer”, Lin Yao-de undertook genre-based experimentation and crafted diversified content with dynamic flexibility, to construct the bridge between imagination and reality for the expression of his thought. Prior to his debut, Lin was inspired by Hu Lan-cheng, Lo Chin, Lo-men, and others, which encouraged him to move beyond the one-dimensional vision and mode of thinking. Previous scholarship, however, has largely remained at the level of summarizing and classifying literary styles, often constrained by Western postmodernist frameworks and clouded by the impressions of Lin as “short-lived, genius, labyrinthine”, thereby overlooking the deeper realities of his work. Earlier studies have typically paired a single genre with a single topic or theme in their discussions of Lin’s work. Though seemingly comprehensive, such approaches leave behind blind spots due to their limited perspectives. This thesis therefore adopts an oeuvre-wide reading of Lin Yao-de’s corpus, supplemented by several newly unearthed texts, to re-examine his writings across all genres. It scrutinizes his literary thought, including his views on urban literature and Western postmodernism, and highlights the “Eastern” dimension of his work. With “Zen”, broadly conceived, as its central focus, this thesis investigates Lin’s major literary themes, the interaction between urban life and religion, and the practical significance of human existence and the enrichment of life.This study ascertains that Lin Yao-de indeed made extensive use of “Zen” across the full span of his creative career and in his works of multiple genres, which may be divided into three major stages: an exploratory period, a period of maturity, and a period of affirmation following maturity. Lin, in his early career, frequently cited allusions and annotations from Hu Lan-cheng’s Zen Is a Flower, integrating Chinese literary and historical traditions with Zen-buddhism. It was not until the publication of his novel Mahavairocana (1991) that signs of maturity became evident. While Mahavairocana takes Japanese Esoteric Buddhism (Shingon) as its subject matter, Lin Yao-de also incorporated Zen in a broad sense for a comparison of their applications in practice. From early Buddhist practices of dhyāna (meditation) to the citation of Wang Wei’s Zen poem “Occasional Composition”, and the adoption of the Viimalakirti Sutra’s notion that “the mind itself is the bodhimanda”, Lin demonstrated a profound understanding of Zen essentials. Moreover, two later works of particular significance, his flash fiction “The Man Who Loved Flowers” (1995) and his posthumous prose “Ginseng and Lotus Seeds” (1996), fully illustrate his insightful mastery of Zen-buddhist philosophy. The former explicitly identifies Zen and the ultimate truth of the universe and human existence; the latter stands as a mature example of Lin’s “intellectual prose” expanding beyond urban themes to explore Buddhist themes. Alongside his engagement with Western postmodern thought, Lin also forged a distinct path of Eastern reflection grounded in Zen. This endowed his literary thought with a worldly vision that encompassed both East and West, balanced Taiwan’s local concerns with China’s cultural traditions, and guided readers toward Zen enlightenment amid the rhythms of urban daily life. This thesis, by offering a renewed and comprehensive reading of Lin Yao-de’s oeuvre, seeks to supplement texts that previous scholarship has yet to recognize and attempts to restore the authentic portrait of Lin Yao-de－his person, his writings, and the truths within and beyond his words.