過去的研究雖然建構（或論述）了歐陽柏燕的書寫歷程，並界定其金門文學的相對座標，卻有再深入探討的空間。其主要原因有三：第一，單獨以歐陽柏燕的詩作為論述基礎的研究是較少的，即便有者也是放在文學發展的脈絡中談論；第二，對於《燕尾與馬背的燦爛時光》尚未有較深入的剖析；第三，也是本文最關注的部份，不能單由「金門」的僵固符碼和形象來剖析詩人的書寫，而是須由精神結構與歷史共感來審視這一切。因此看到詩人以戰爭為題材，延伸至「鄉愁」、「童年」和「國家歷史」等課題，並探討「金門」作為一個兩岸歷史發展下的見證，甚至是對於和平的渴望與盼求。 Although past studies have established (or investigated) the writing process of Po-yen Ouyang and defined his works as the relative coordinates of Kinmen literature, many aspects of Ouyang’s works are still worthy of in-depth investigation. The 3 main reasons are as follows: First, as a matter of fact, there are relatively fewer studies investigating the poetry of Po-yen Ouyang alone as the basis of investigation. Although some studies did so, they investigated poetry in the context of literature development; second, there is a lack of in-depth analysis of Splendid Time with Swallowtail and Horseback; third, this study suggests that it is inadequate to analyze a poet’s works from a single perspective of the fixed symbol and image of “Kinmen,” and it is necessary to review them with spiritual structure and historical empathy. Therefore, it is observable that the poet used war as the theme and extended it to issues, such as “nostalgia,” “childhood,” and “national history,” described “Kinmen” as the witness of cross-strait historical development, and even expressed desire and hope for peace.
