【作者】 程继龙；

【导师】 王泽龙；

【作者基本信息】 华中师范大学 ， 中国现当代文学， 2014， 博士

【摘要】 论文从诗学观念、主题、艺术性以及与中西诗歌的关系四方面综合研究了朱英诞新诗,旨在描述朱英诞新诗的创作情况,阐释其基本特征,评价其性质和地位。绪论介绍了朱英诞生平和诗歌创作情况,分析了多年来朱英诞新诗研究的得失,对研究所要解决的关键问题和采用的主要方法做了说明。第一章归纳朱英诞的诗学观念。朱英诞结合自己的创作经验和诗学思考,形成了一套关于新诗的完整见解。新诗是什么,新诗何以成立?这一根本问题统摄了朱英诞关于新诗的所有思考。朱英诞认为,新诗只有具足“普遍”、“永久”两个品德,才能确凿不移地成立起来,才能是“新”的而且是“诗”的。他在极高的层面上设想了新诗的内在规定性,为此,他深入到新诗体验与表达的具体问题中去,意识到这二者是保证新诗自身得以实现的具体途径。朱英诞所讲的“体验”,是一种独特的审美思维,有特殊的结构和性质,既有非人为的偶然性,又有后天修为的必然性,强调感觉的作用,又不偏废知性,以综合的认知能力重新体认自我和世界。朱英诞强调表达的重要性,他赋予“修辞立其诚”新的内涵,集中思考了新诗修辞、文体和在新的发展阶段中新的表达形态问题。他主张诗人应该透彻理解现代白话的性质,认认真真地遣词造句,以散文写诗,写出完全意义上的自由诗,争取体验与表达的完全对称。这些见解极有针对性,继承和深化了胡适、废名等人对新诗问题的思考。第二章探讨朱英诞新诗的主题。朱英诞新诗主题是多元的,但是主要可以归纳出日常生活、田园和梦幻三类,三者支撑起朱英诞新诗的意义世界。日常生活是人时刻置身其中的绵长而琐碎的现实场所,在诗性精神的启示下,朱英诞认识到了日常生活的重要性,试图建构出日常与诗歌相依、互激的理想状态,使诗歌建立在生活的深厚土壤里,同时用诗性精神照亮生活现实。田园代表了一种行将失去的生活方式,一种值得缅怀的精神家园,为此,朱英诞塑造出了意义丰富的“田园空间”,这一“空间”既包括草木鱼虫、庭院街巷这些切身物事,又包括宇宙星辰这些远方之物;既是个人读书散步、灌园种蔬的日常场所,又是诗人想象出来的精神乌托邦。朱英诞还将诗的触须探入更为玄远的心灵梦幻世界,其具体主题有恋母、思乡和海天之思几种,形态有冲荡型和静穆型两种。朱英诞打开了潜意识的领域,形成了诗与梦的同构格局。朱英诞的诗意世界真实、唯美,而且高度个人化,与时代现实形成隐秘的对应关系,流露出较强的批判色彩。从日常到梦幻,朱英诞遨游在一个立体的诗意世界里。第三章着眼于朱英诞新诗的艺术。将目光投射到朱英诞新诗意象、语言与结构上,思考这三者在形成诗歌本体时各自所具有的内涵、形态和蕴含的技艺成分。朱英诞建构了丰富的意象群,包括日常、自然和心灵梦幻意象等。朱英诞注重与古典诗歌意象互文,看重事物不同侧面的形象特征,创造出带有自我体验印记的新意象。意象排列高密度化,注重意象间的勾连、呼应。突破了古典诗歌意象意境化的传统,在整体效果上追求亦真亦幻的艺术美感。新诗与现代汉语之间是相互纠缠、相互促动的辩证关系。朱英诞正是在对新诗与现代白话相互倚重、相互提升的历史处境的体认中介入新诗语言探索的,他看重体验的价值,通过建构内视点的语言、意象化的语言和张力化的句法来实现理想的“诗的文字”。探索中又孳生出另一种可能：诗歌语言的自我指涉。这样,塑造出了灵活柔美、富有表现力的诗歌语言,也提升了现代汉语的质地。诗的结构是诗思展开的线索,是诗歌表达形成的范型,朱英诞有清醒的结构意识,朱英诞新诗结构有小诗、廊庑式和云烟式几种。朱英诞借助对结构艺术,将自由德性最大限度地带入了新诗内部。朱英诞以自己的探索丰富了中国现代主义诗歌艺术。第四章在比较的视域里发掘朱英诞新诗与中西诗歌的关系。现代诗人诗艺的发展,离不开西方诗歌的影响,从诗人自身方面来看,也是一种自主地拿来。朱英诞领悟了法国象征主义心物感应的精义,获得了感知世界的方法。象征主义的暗示法启发他将意象提升为一种居于主体地位的表达方式。在“纯诗”观念的启发下,朱英诞萌生了带有本体意味的“真诗”意识,触动了新诗本体。T·S·艾略特精深、完美的诗学、诗艺吸引了朱英诞。他帮助朱英诞突破了象征主义“纯诗”的限制,培养出感情、知性和感觉协同运作的感受力。在这种更为健全的思维能力的策动下,朱英诞找到了重新体验世界和自我的途径,获得了包容各种经验的能力。中国古典诗歌传统是另一脉资源,唐宋诗歌的代表李贺、杨万里对朱英诞影响至深。李贺的“苦吟”激发朱英诞在体验方式上向内转,臻于奇幻幽冥的诗境,在表达方式上更加曲折多变,完善了新诗自由诗的形态。杨万里以“理趣”为内核的“幽默”诗风帮助朱英诞调整了写作理路,诗风倾向于深细平易。朱英诞诗艺的形成与变化,离不开中西诗歌传统的滋养。结语总结了各部分的主要观点,反思了朱英诞新诗中存在的某些不足,对朱英诞新诗成就做了总体评价。更多还原

【Abstract】 This paper synthetically explores Zhu Yingdan’s new poetry in four parts:poetics, theme, artistry and relationship between Chinese and Western poetry. This paper is aimed at describing the creation condition of Zhu Yingdan’s new poetry, explains his new poetry’s basic characteristics, and discusses its property and status.The introduction introduces Zhu Yingdan’s lifetime and the creation condition of his new poetry, analyses the gain and the loss of the research on his new poetry for years, and explains the key problems and the main methods of this study.The first chapter concludes Zhu Yingdan’s poetics. He formed a complete set of views on new poetry with his own creation experience and poetic thoughts. What is new poetry? Why new poetry is established? The fundamental problem dominated all thoughts of Zhu Yingdan’s new poetry. Zhu Yingdan thought that only when the new poetry has two characters—the"universal" and the"permanent", then it will establish definitely and will be "new" and be "poetry". Zhu Yingdan envisaged the inherent regulations of new poetry in a high level. He studied into the specific questions of new poetry’s experience and expression which he realized are the specific ways to ensure that the new poetry realize its own value. The "experience" which Zhu Yingdan said is a kind of unique aesthetic thought. It has a special structure and property, it not only has contingency, but also has inevitability. It stressed the role of feeling, and did not neglect intellectuality. And it recognized oneself and the world by the cognitive ability. Zhu Yingdan stressed the importance of expression, gave a new connotation of "express inner thoughts by language", and thought the rhetoric, style and new expression form in the new stage of development. He advocated that the poets should thoroughly understand the nature of modern vernacular, use words and make sentences conscientiously, and write poetry by prose which in order to write free poetry in true meaning and achieve a consistence on experience and expression. These views are very targeted. They inherited and deepened the thoughts of Hu Shi、Fei Ming and others on new poetry’s problems.The second chapter discusses the theme of Zhu Yingdan’s poetry. The theme of Zhu Yingdan’s poetry is multiple, we can conclude it into three kinds:the daily life, the pastoral and the dream, which prop up the world of meaning of his poetry. Daily life is the reality location in which people put himself all the time. With the enlightenment of poetic spirit, Zhu Yingdan realized the importance of daily life, he tried to construct the ideal state that the daily life and poetry depend on each other for existence and motivate each other. He made poetry built on deep soil of life, at the same time used the poetic spirit to illuminate the reality of life. Pastoral represents a way of life which is losing and a spiritual home worth recalling. Therefore, Zhu Yingdan created the meaning of "spiritual space", the "space" not only include the close things such as plants, animals, courtyards and streets, but also include the distant things such as cosmos; It is a daily place where a person read, walk, shrub garden or water vegetable, and a utopia that poet imagine. Zhu Yingdan also made poetry tentacles into more profound dream world. The theme include mother love, homesickness and the missing of sky and sea. Zhu Yingdan opened the field of subconscious, and formed a pattern of poetry and dream. Zhu Yingdan’s poetic world is true, aesthetic and highly personalized. It is corresponding with reality of the times, and showing strong criticism. From daily life to dream, Zhu Ying traveled in a three-dimensional poetry world.The third chapter focuses on art of Zhu Yingdan’s new poetry. We put our eyes onto the image, language and structure of his new poetry, ponder over the connotation, the form and the skill of poetry. Zhu Yingdan constructed many images, including daily life, nature and dream. Zhu Yingdan paid attention to the characters of things in different aspects, created new images with his own experience. Images were arranged in a high density and were on the hook. He broke the tradition of classical poetry, chased the beauty of art in the overall effect. Between new poetry and modern Chinese, there is a dialectical relationship which is entangled and stimulative. Zhu Yingdan was involved in language exploration of new poetry in the situation that new poetry and modern Chinese support and promote each other. He valued experience, realized the ideal of "poetry’s writing" by constructing inner viewpoint language, imagery language and tension sentence structure. In his exploration, it produced another possibility: the self referential of poetry language. In this way, it created a soft, flexible and expressive poetry language, and also enhanced the character of modern Chinese. The structure of poetry was the clue of poetry and the paradigm of poetry expression. Zhu Yingdan had a consciousness of poetry structure. The structure of Zhu Yingdan’s poetry has three different types, they are the small poem type, the veranda gallery type and the clouds type. Zhu Yingdan borrowed the structure of the art, brought freedom into the inner of poetry maximizely. Zhu Yingdan enriched the artistic of Chinese modern poetry with his exploration.The fourth chapter explored the relationship between Zhu Yingdan’s poetry and western poetry in comparative perspective. The western poetry has a strong influence on the development of modern poet’s poetry. From the view of the poet’s self, it is a kind of independent borrowing. Zhu Yingdan comprehended the essential ideas of symbolism that is "correspondence between spirits and objects". And he also got the way of re-perceiving the world. The suggestion of symbolism inspired him to elevate image to an expression which is in the dominant position, and enhance the effect of expression. The "pure poetry" activated his consciousness of "true poetry" that with ontological meaning. T· S· Eliot’s deep and perfect poetic attracted Zhu Yingdan. He helped Zhu Yingdan broke the restrictions of symbolism of "pure poetry", cultivate emotional, intellectual and sensory experience operating coordinately. In this instigate of thinking ability, Zhu Yingdan found the way of re-perceiving the world and himself, and gained the ability to contain various experience. The traditional Chinese classical poetry is another resource, the represents of Tang and Song poet as Li He and Yang Wanli made a profound influence on Zhu Yingdan. Li He’s bitter poem inspired Zhu Yingdan turned to inward in experience, made his poetry into a fantasy artistic conception, made the way of expression more complicated, and improved the form of poetry. Yang Wanli’s "humor" style that regared the "interest" as the core of poetry helped Zhu Yingdan adjusted his writing way. His poetry style tended to deep fine plain. The formation and change of Zhu Yingdan’s poetry, cannot do without the nourishment of Chinese poetry and Western poetry.The conclusion summarizes the main points of each section, reflects some shortcomings of Zhu Yingdan’s new poetry, and makes an overall appraisal of his new poetry’s achievement.更多还原