此節筆者以「拔河賽」為題，以作者在詩畫中「大人」的視角、「小孩」的 立場來貫穿，希爾弗斯坦無意讓大人或小孩從詩中省悟任何啟示或道理，因為親 子間無止休的拉鋸戰便如同拔河賽般，你來我往的較勁著，也在點滴的摩擦中滋 長著愛，那是最甜蜜的負荷，苦澀也甘之如飴。
第三節 肢體大風吹
希爾弗斯坦的創作，經常大玩顛倒身體、錯置四肢的遊戲，搭配詩文的意 象，透過「解放」身體來詮釋詩意。有時是幽默一段日常用語，像是：「他們說 在十歲以前，我的腿會再抽長一段，」（“They said I’d grow another foot before I reached the age of ten.”），希爾弗斯坦便在〈矮小孩〉（“SHORT KID”）79（圖
4-78謝爾·希爾弗斯坦，鄭小芸譯，〈牆上的記號〉，《每一種料都加》，臺北市：玉山社，2012，頁
3-1）頭上加上一截小腿，小腿壓著小孩，相當肆無忌憚；有時為了強化詩的意 涵，像是矛盾的內在，在〈我們〉（US）80（圖 4-3-2）中，一顆頭上兩張相互排 斥的臉，分不開又無法和平共處的糾結，意象鮮明的詮釋了躁動的心；有時，作 者只想傳達最直接了當的詩意，讓讀者一目了然，例如在〈真熱〉（“IT’S HOT”）81（圖 4-3-3）時，喝檸檬水、吹電風扇、吃冰都無濟於事，乾脆把身上 的皮也脫了下來，毫無保留的呈現了熱的狀態。
SHORT KID They said I’d grow another foot Before I reached the age of ten.
It’s true, I grew another foot—
Guess this is what they meant.
圖 4-3-1：“SHORT KID”, Falling Up, p. 101.
US Me and him
Him and me,
We're always together As you can see.
I wish he'd leave So I'd be free
I'm getting a little bit Tired of he,
（…）
But I guess there's worse things We could be—
Instead of two we could be three, Me and him
Him and me.
圖 4-3-2：“US”, Where The Sidewalk Ends, p. 36.
IT’S HOT
It’shot!
I can’t get cool,
I’ve drunk a quart of lemonade.
I think I’ll take my shoes off And sit around in the shade.
（…）
I think I’ll take my skin off And sit around in my bones.
It’sstillhot!
圖 4-3-3：“IT’S HOT”, A Light in the Attic, p. 84.
此節筆者將就希爾弗斯坦作品中，關於身體的變形、錯置、扭曲等特質之詩 文，歸納並析論之。
一、擬態變形
在希爾弗斯坦筆下變形的身體，彷彿是一種身體的進化論，隨著詩意的需求 而蛻變、甩開身體的制約模樣，滋長成獨特的姿態。在〈閣樓上的光〉（“A LIGHT IN THE ATTIC”）82（圖 4-2-4）中，頭變形成閣樓，有著洞開的窗、點亮 的燈火，就深深的嵌在大頭上，溫暖了你我的心；〈自家的樂隊〉
（“OURCHESTRA”）83（圖 4-3-5）中，「沒有鼓就打肚子、沒有喇叭就吹鼻 子」，作者鼓勵讀者樂觀看待甚至運用創意運用自己擁有的身軀，而吹鼻子
（“play my nose”）的概念，更是直截了當地融入畫中，出現一個變形的喇叭鼻 子。
82謝爾·希爾弗斯坦，鄭小芸譯，〈閣樓上的光〉，《閣樓上的光》，臺北市：玉山社，1995，頁 7。
A LIGHT IN THE ATTIC There‘s a light on in the attic.
Though the house is dark and shuttered, I can see a flickerin’ flutter,
And I know what it’s about.
There‘s a light on in the attic.
I can see it from outside,
And I know you’re on the inside ... lookin‘ out.
圖 4-3-4：“A LIGHT IN THE ATTIC”, A Light in the Attic, p. 7.
OURCHESTRA
So you haven't got a drum, just beat your belly.
So I haven't got a horn-I'll play my nose.
So we haven't any cymbals-
（…）
Hey, we're making music twice as good By playing what we've got!”
圖 4-3-5：“OURCHESTRA”, Where The Sidewalk Ends, p. 22.
〈包天識和電視〉（“JIMMY JET AND HIS TV SET”）84（圖4-3-6）這首詩 中，作者企圖深化一個看電視成癮的男孩JIMMY JET 的下場，JIMMY 的脖子變 成轉台器、頭髮變天線、腦袋成了映像管，屁股長出了尾巴似的插頭，透過變形 成電視機的男孩，道出孩子被電視「綁架」的情形。D. Buckingham 在《童年之 死－－在電子媒體時代成長的兒童》（After the Death of Childhood—— Growing up in the Age of Electronic Media）85中論說，二十一世紀的兒童遭逢被電子螢幕支配 的命運，童年處處顯現的是暴力、商業化與政治的氛圍，新媒體、新科技，特別 是電視剝奪了兒童遊戲的時間以及其他健康的互動，摧毀「視讀能力」，佔據心 靈，使資訊變得無法掌控，也模糊了兒童與成人之間的界線，讓童年正急遽消逝 中。希爾弗斯坦以兒童變形電視來突現此議題，既寫實又貼切。
84謝爾·希爾弗斯坦，鄭小芸譯，〈包天識和電視〉，《人行道的盡頭》，臺北市：玉山社，1995，頁
JIMMY JET AND HIS TV SET I'll tell you the story of Jimmy Jet--
And you know what I tell you is true.
He loved to watch his TV set Almost as much as you.
（…）
He watched till his eyes were frozen wide,
And his bottom grew into his chair.
And his chin turned into a tuning dial,
And antennae grew out of his hair.
And his brains turned into TV tubes, And his face to a TV screen.
And two knobs saying "vert." and "horiz."
Grew where his ears had been.
And he grew a plug that looked like a tail So we plugged in little Jim.
And now instead of him watching TV We all sit around and watch him.
圖 4-3-6：“JIMMY JET AND HIS TV SET”, Where The Sidewalk Ends, p. 28.
二、顛倒錯置
HAND LAND
Will you enter the land of the hands?
Where fingers grow out of the sansd?
Can you leave all your talk-listen language behind
And follow the signs?
圖 4-3-7：“HAND LAND”, Every Thing on It, p. 192-193.
有 21 頭顱的施梅茂（MR. SMEDS），和有 21 頂帽子的史友冒（MR.
SPATS），兩人相見歡，〈施梅茂和史有冒〉（“MR SMEDS AND
MR.SPATS”）87（圖 4-3-8）相遇會撞擊出什麼火花？讓帽子和頭找到歸屬？希爾 弗斯坦還要做出比長出一堆頭更荒謬的事，便是讓施梅茂將僅有的一頂帽子，賣 給了僅有一頭，卻頂著 21 頂帽子的史友冒，讓顛倒錯置發揮到空前的極致。
MR. SMEDS AND MR.SPATS Mr. Spats
Had twenty-one hats,
And none of them were the same.
And Mr. Smeds Had twenty-one heads
And only one hat to his name.
Now, when Mr. Smeds
Met Mr. Spats, They talked of the
Buying and selling of hats.
And Mr. Spats
BoughtMr. Smeds' hat!
Did you ever hear anything Crazier than that?
圖 4-3-8：“MR SMEDS AND MR.SPATS”, A Light in the Attic, p. 42-43.
三、極限扭曲
喜歡〈伸長手的常生〉（“REACHIN’RICHARD”）88（圖 4-3-9），這個不顧 餐桌禮儀的常生，總是不聽爸媽勸戒，日積月累下形成任意伸長手夾菜下的壞習 慣，導致手拉長二十公尺，長到可以跨頁到長餐桌盡頭，逕自取食，讓全家目瞪 口呆，常生卻樂得擁有伸縮自如的手而樂在其中。
REACHIN’RICHARD
‘Stead of sayin’, “Pass the peas,”
Richard reached across and grabbed some.
‘Stead of whisperin’, “Lamb chops, please,”
Richard poked his for and stabbed one.
‘Spite his father’s warnin’ words,
‘Spite his mother’s tearful teachin’, With each grab his arm did grow
‘Til it stretched twenty yards or so.
Said Richard, “Yes, it’s weird, I know, But boy, it’s great for reachin’.”
圖 4-3-9：“REACHIN’RICHARD”, Falling Up, p. 93.
既然身體可以無限擴充，那何不來場與自己的戀愛，〈熱戀〉（“IN
LOVE”）89（圖4-3-10），呈現極度的孤單，藉著伸長脖子，和自己來慰藉，愛沒 有傾注的對象，只好扭曲、旋轉後，給自己一個深情的吻，好孤單的一場戀情，
脖子有多長，寂寥便有多長。
IN LOVE If my face could only twist, Then I could give my cheek a kiss And whisper in my lovely ear,
“You’re so beautiful, my dear,”
And look into my eyes and see Just how much I’m in love with me.
88謝爾·希爾弗斯坦，鄭小芸譯，〈伸長手的常生〉，《往上跌了一跤》，臺北市：玉山社，2000，頁
圖4-3-10：“IN LOVE”, Every Thing on It, p. 48.
透過肢體的錯置、增生、延展或隱形等奇想而生的創作詩篇，與第貳章所論 的無稽詩人愛德華．李爾的創作特質十分契合，然而其中的差異是，希爾弗斯坦 的肢體遊戲不只是毫無道理的「無稽」與「胡鬧」，他藉此彰顯詩的情境，放大 詩中所要凸顯的意涵，讓肢體大風吹的遊戲吹出不同的意境。