本文旨在深入研討楊牧的「歷史意識」與「歷史詩學」。從1968 到 2011 年，楊牧寫了二十二首左右的「歷史題材」現代詩，其中包括：〈續 韓愈七言古詩山石〉、〈武宿夜組曲〉、〈延陵季子掛劍〉、〈秋祭杜甫〉、 〈鄭玄寤夢〉、〈吳鳳成仁〉、〈熱蘭遮城〉、〈甯靖王歎息羈樓〉、〈歲末觀 但丁〉。本文首先論證楊牧的「歷史意識」源於其跨國離散和知識冒險導 致的個人觀念的再解放，認為這種歷史意識的哲學基礎是詹明信所謂的 「存在歷史主義」，它與現代西方歷史哲學有所呼應和共鳴。本文進而研 討楊牧的「歷史詩學」如何採納幾種闡釋模式以傳達「歷史意識」與「文化 認同」，認為他的歷史想像之重點不在發思古之幽情，而在投射抒情自 我於當下處境中的戲劇性體驗。本文也指出，楊牧的歷史詩學見證了後 殖民全球化背景下，本土意識的蓬勃與文化認同的轉向。

It is noteworthy that Yang Mu has produced some “history poems” since 1968, which have more or less contributed to the development of modern Taiwanese poetry. This paper argues that it is history as “dramatic experience” rather than as “vision” that is profoundly represented in Yang’s historical imagination and that Yang’s historical sense results from his transnational experience and intellectual adventure during the past several decades. Furthermore, Yang’s ideas about history coincidently correspond with the “existential historicism” articulated by Frederic Jameson in the essay “Marxism and Historicism.” Through textual analysis, contextualization, and theoretical engagement, the paper aims to examine the strategies and modes that Yang Mu employs in inscribing his historical sense and cultural identity, and ultimately, to investigate the potential and limits of “poetics of history” in general.