「綠」是洛爾迦筆下萌發詩意的關鍵字，在〈夢遊人謠〉裡，從愛慕之人的髮膚、神色，到支撐起她回眸一望的陽台，皆有詩人綠意迸發的異想；而狄瑾蓀寫下〈綠色是墳墓的顏色〉，死亡的象徵轉化為雪白覆蓋之下終將輪替而至的夏季暗示。詩人借用它富於想像的意涵，它並不直指墓碑灰白如生者不再的冷清，而是揭示蘊含其中，覆蓋著生死運命的肌理與邏輯。在它的詩性表現之外，也透過語言形塑的視覺意象所顯現，在當代無法消除的邊境裡外，標示空間中人工與（虛構的）自然的區塊分隔。從綠色在詩性空間的詮釋出發，我們以洛爾迦與狄瑾蓀的詩歌為例，探問文學與詩歌作品中的有色隱喻，以及當代現實處境中的「綠」義侷限。文學的語境中，顏色的意涵如何突破視覺的理性觀看，以感性經驗訴說不可現身的形象？可見之「綠」，能否被賦予一種脫離既定「區隔」的顯性空間的潛力，使物質在觀者的理解中變形、再生，使其原初未顯現的輪廓得以具象。

Green is a key word in Federico Garcia Lorca’s poetry. In his “Dream Walker Ballad,” it colors the flesh and hair of the beloved one, and the balcony where she dreams. Green is also a central theme in Emily Dickinson’s poetry. “The Color of the Grave Is Green” is a metaphor for the cycle of death and life. In both poems, green has multiple meanings: love, life, and something beyond image and language. By analysing the poetic space of green in Lorca’s and Dickinson’s poetry, this article aims at exploring the metaphor of color in literature and poetry, and questioning the phenomenological limit of green in real life. How does the color of green transcend our visual experience to become the invisible? If green is separated from the material and deprived of all its tangible significations, can it reappear in perception as an object which represents the formless matter itself?