【作者】 熊辉；

【导师】 赵毅衡； 毛迅；

【作者基本信息】 四川大学 ， 中国现当代文学， 2007， 博士

【摘要】 五四新文学运动的典范意义在于多种新文体地位的确立，其中新诗对古典诗歌审美范式的突围和裂变使其成为新文学第一个十年成就的显著标志。没有晚清，何来五四?在不否认中国诗歌历史连续性的同时，在理论先行的情况下，五四文学先锋者不得不寻找一种能够充分实践新诗理论并证明在中国诗歌“进化”历程中具有“优胜”品格的新诗“蓝本”。也即是说，新诗是中国诗歌自身发展演变的产物，但是新诗在拒绝“母乳”后如何能够走过稚嫩的成长期?此时，我们不必再费心思量新诗产生和发展是源于中国文化还是外来文化，唯一需要却也可以肯定的是外国诗歌对中国新诗影响的客观性，这是目前研究得比较成熟的领域。但接踵而来的问题是，外国诗歌如何影响了中国新诗?关于这个问题，恐怕诸如胡适、周作人、郭沫若、徐志摩等早期新诗的先行者也没有站在理论和历史的高度上做出符合学理的思考，他们只关注如何将新诗文本呈现给读者，至于手段本身则似乎并不重要。我们今天研究新诗的产生和发展则多注目于传统和外来两个方面，素不知外国诗歌和中国诗歌之间实际上还隔着一层译诗，而且最关键的是，就影响中国新诗而言，译诗比起所谓的外国诗歌来过之而无不及，因为它才是外国诗歌对中国新诗产生影响的真正“元凶”。关于译诗的影响研究从新诗诞生之日起便拉开了序幕，但历史语境的局限使单薄的研究成果难以支撑起译诗对中国新诗的厚重影响。鉴于译诗研究的历史语境和现实语境，本文决定从译诗的角度来探讨外国诗歌对中国新诗的影响。而且在这一影响过程中，由于理论倡导和新诗第一个十年的现实处境等导致了这一时期译诗影响的特殊性，因此，本文主要探讨五四前后的译诗对早期中国新诗的影响。本论文由绪论、正文六章和结语构成，扼要内容归纳如下：绪论从分析译诗的积极意义入手，详细分析了本论题的研究现状，提出了论文写作的基本方法和思路，并对一些可能引起争议的问题和写作过程中的客观难题进行了简明的阐释和界定。第一章“五四新文化语境中的译诗”：这是整个论文的写作基础，因为如果没有五四时期的译诗热潮，就没有译诗对新诗深刻的影响；没有五四时期的译诗特质，译诗就不会对中国新诗形成影响。同时，如果新诗中没有大量可以查证的译诗痕迹，言说译诗对中国新诗的影响就失去了基础，没有译诗的中介作用，外国诗歌包括译诗自身就难以实现对中国新诗的影响。因此，前两节主要考察了文学社团及其刊物上的译诗，证明译诗不仅大量存在，而且在形式风格上与近代译诗拉开了距离，从影响源的角度为探讨本论题奠定了基础；第三节列举了早期主要诗人的作品中存在的译诗痕迹，从影响对象的角度为探讨本论题奠定了基础。第四节论述了译诗是外国诗歌影响中国诗歌的中介，从影响手段的角度为探讨本论题奠定了基础。第二章“五四译诗与早期中国新诗语言”：五四译诗之所以会影响中国新诗语言，与五四时期的译诗语言观密不可分，而影响结果的直观表征就是“欧化”，影响结果的具体表现却是词汇、词法以及句法的更新丰富。因此，第一节探讨了五四前后的译诗语言观，旨在说明其在观念和语言上为创立中国新诗铺就了道路。第二节讨论了译诗引起的中国新诗语言表达的“欧化”，旨在说明译诗对新诗语言表达的更新以及如何正确认识这种更新。第三节单独讨论了日语对中国新诗语言的影响，应该说是第二节的一个特例，由于日语在中国新诗乃至整个新文学发生和成长过程中扮演的特殊角色，所以单独分一节进行论述。最后一节是对前面三节所讨论的问题的具像化，即以具体的例子来实证性地演示五四译诗对中国新诗语言的影响。第三章“五四译诗与早期中国新诗形式”：中国新诗在诗体形式上比传统诗歌丰富，在有韵诗外别增了自由诗、小诗、散文诗，在抒情诗外别增了叙事诗，外国诗歌的翻译为这些诗歌形式的引入提供了路径。因此，第一节分析了自由诗的形成不仅是外国自由诗译本的影响，而且与翻译自身的局限和早期新诗发展的诉求有关。第二节从分析翻译活动入手，认为外国诗歌翻译的散文化、外国散文诗的翻译等都是导致中国散文诗产生的原因，而且中国散文诗理论也受到了外国相关理论的直接影响。第三节分析了小诗受泰戈尔诗歌和日本俳句译本的影响这一客观事实，认为早期诗人大都是在阅读译诗后受到启示而开始小诗创作的，并且论述了泰戈尔的诗和俳句对中国新诗造成影响的深刻原因。第四节从理论基础和创作实践两个方面分析了现代格律诗受到的外来影响，论述了该诗歌形式主张给中国新诗发展带来的积极意义。第五节认为中国自古以来的叙事诗都是在外来影响下创作的，五四时期翻译的功用性目的以及部分人的理论倡导致使叙事长诗得以诞生。第四章“五四译诗与早期中国新诗创作”：早期诗人由于接受了不同的外国文化而具有各自特殊的写作背景，仅就接受译诗的影响而言，部分诗人直接阅读并翻译了外国诗歌，译诗对他们创作的影响主要停留在翻译过程或思维转换上，而不是具体的译诗文本；也有部分诗人是通过阅读其他人翻译的诗歌作品而真正受到了译诗文本的影响，这部分人也包括那些参与翻译实践的诗人，因为他们可能会阅读别人翻译的诗歌。因此，第一节在整体上论述了译诗对新诗创作的促进、同一性和互动性关系。第二节论述了译诗对非译者创作的影响，主要表现为在形式和精神上的“援助”，在情思上的启发，在诗体形式上的范式，在意象上的思维创新。第三节论述了译诗对译者创作的影响，译诗为译者提供了写作资源，启发了创作灵思，改变了创作风格，增进了创作能力，实践了创作理念。第五章“潜在译诗对早期新诗创作的影响”：这实际上是译诗对译者创作影响的特例，即没有写出具体译诗文本的翻译者受到译诗的影响。由于目前的翻译研究还没有明确提出潜在翻译这一关键词，而它又是影响中国早期新诗创作最主要的翻译类型，所以，本章单独讨论潜在翻译以及由此产生的潜在译诗对译者创作的影响。第一节从学理上探讨了潜在翻译是一种客观存在的翻译类型；第二节在承认潜在翻译客观存在的基础上，论述了早期很多诗人都依靠这种翻译来从事新诗创作，使其成为一种创作手段。既然潜在翻译是一种客观存在的翻译类型，而许多诗人又把潜在翻译作为一种创作手段，那潜在翻译势必会影响译者的创作，因此，接下来的第三节以早期有代表性的诗人为个案，具体而实证性地考察了潜在译诗对译者创作的影响。第六章“五四译诗对早期中国新诗的整体影响”：这是对前面内容的整体性抽象和概括，因为译诗除了对语言、诗体形式和创作产生局部影响外，还帮助贫弱的中国新诗确立了文坛地位，刷新了中国新诗的形式观念，改变了中国新诗现代性的进程。因此，第一节论述了译诗是中国新诗的来源，是中国新诗创作的模范，它开创了中国新诗的新纪元，有力地证明了早期新诗的创作实绩，阐明了译诗确立了新诗的文体地位。第二节讨论了译诗与中国新诗形式观念的更新，认为五四译诗冲破了中国固有的诗歌审美观念和形式观念，开创了中国诗歌新的美学传统，为中国新诗的发展起到了积极的促进和推动作用。第三节主要探讨了中国新诗的现代性是翻译引入的现代性。译诗是新诗现代性的推动力，反映了新诗对现代性的诉求，在声援新诗现代性建构的同时又促进了现代性在民族文学中的发展。结语部分是对全文观点的总结，中国新诗的发生和发展是既相联系又相区别的两个问题，在承认新诗发生是民族文化内因所致的情况下进一步指认出译诗对中国新诗发展的深刻影响。更多还原

【Abstract】 The typical significance of the new culture movement around May 4th in 1919 was the establishment of several literary forms, among which modern Chinese poetry against the traditional aesthetic conception was circulated to be the most remarkable success during the first ten years of modern Chinese literature. It is certain that the continuity of Chinese poetry should not be denied, but under the situation that theory appeared before creation, the vanguard of the new culture movement had to seek an original form to prove the excellency of modem Chinese poetry. That is, modern Chinese poetry originated from Chinese traditional poetry, which must produce such serious problem that how the modern Chinese poetry could become mature when it turned down the nutrition from the traditional culture. It’s no use thinking over whether the fountainhead of modern Chinese poetry was from Chinese culture or foreign culture, then the objective influence of foreign culture could be confirmed, which must give us another problem that how the foreign poetry affected the modern Chinese poetry. The pioneers, such as Hu Shi, Zou Zuoren, Guo Moruo, and Xu Zhimo, perhaps didn’t think such problem form the point of scientific principle or theory, for they only cared about how to present the texts of modern Chinese poetry, but not the measures. Nowadays, academic circles often study the modern Chinese poetry’s birth and development on the basis of traditional and foreign cultures. Some scholars lost the sight of translated poetry’s relationship existing between Chinese and foreign poetry. Actually, translated poetry played the most important role and was considered to be the original foreign motive power affecting modern Chinese poetry.Although the research of translated poetry’s influence has been being on since modern Chinese poetry’s birthday, the feeble achievement in such research couldn’t demonstrate the great effect because of the historical context. According to the present research condition, the paper employed the angle of translated poetry to study the foreign poetry’s influence on modern Chinese poetry. During the course of influence, the initiation of poetics and the earlier modern Chinese poetry’s unfavorable situation resulted in the specialty of translated poetry’s influence, so the paper put emphasis on the influence of translated poetry around the May 4th on the early modern Chinese poetry.This dissertation consists of the following eight parts:The introduction enumerated some positive contributions to show translated poetry’s importance. Then the basic methods and the train of thought were put forward on the base of analyzing overviews of the study on translated poetry’s influence. At the same time, this part gave brief explanation to some argumentative viewpoints and some objective problems.Chapter 1, "the translated poetry in the new cultural context in the May 4th", is the basis of the whole paper. If there’s no great upsurge of translated poetry, there must be no deep influence on modern Chinese poetry. And if there’s no special characteristic of translated poetry in the May 4th, there must be no influence. Furthermore, if there’s no trace of influence, there must be no evidence to prove translated poetry’s influence on modern Chinese poetry. If there’s no intermediary acting force, the influence must not take place. Because of the reasons above, the first two sections proved that there’s a vast amount of translated poetry through the investigation of literary mass organizations and magazines, the third section listed some traces of influence in the early poets’ works, the last section discussed that the translated poetry is the intermediary of translated poetry’s influence on modern Chinese poetry. All of these gave the paper a solid foundation from the resource, target and measure of influence.Chapter 2, "the translated poetry around the May 4th and the early modern Chinese poetry’s language", thought that the reason why the translated poetry could affect the modern Chinese poetry’s language caused by the language conception of translating poetry, the obvious result of which was westernization. Modern Chinese poetry’s vocabulary, morphology and sentence structure have become rich and varied. The first section approached the language conception of translating around the May 4th in order to illustrate that it has set up the new language conception for modern Chinese poetry. The second section approached the westernization of modern Chinese poetry’s expression and language caused by translated poetry in order to illustrate the translated poetry’s effect and how to understand it. Section three probed into the effect from Japanese, this is the special instance of section two. The last section is the specific illustration of modern Chinese poetry’s language westernization.Chapter 3, "the translated poetry around the May 4th and the early modern Chinese poetry’s form", discussed the translated poetry’s influence on modern Chinese poetry from the viewpoint of form. Modern Chinese poetry has various forms, besides verse, there are free verse, prose poem and short-formed verse, besides lyrics, there is narrative poem. These forms imitated or originated from translated poetry’s forms. The first section analyzed that free verse took its shape because of not only the translated poetic text, but also the limitation of translation and the early modern Chinese poetry’s requirement. The second section thought that the foreign verse translated to prose and the prose poem translation were the main reasons bringing on Chinese prose poem. The next section discussed Chinese short-formed poem was affected by Tagore’s poem and the short Japanese poem consisting of seventeen characters, then analyzed the main reasons why such two kinds of poem could affect Chinese poem. The forth one analyzed the influence on modern Chinese metrical verse from the two aspects of theory and practice, and discussed the proposition of poems with metrical pattern had the positive significance to the development of modern Chinese poetry. The last section believed that Chinese narrative poem has been created according to the translated narrative poem. The functional target and some persons’ theory initiation gave the birth of Chinese narrative poem.In chapter 4, "the translated poetry around the May 4th and the early modern Chinese poetry’s creation", the author thought that the early poets had different cultural background, for they accepted different foreign culture. As for the acceptance of the effect from translated poetry, some poets read the foreign poems directly and translated poetry’s effect behaved on translating course and thinking diversion, but not the text of translated poem. Some poets including some translators were influenced by reading some others’ translated poetry. So the first section discussed the relationship of promotion, identity and mutual aid between translated poetry and modern Chinese poetry as a whole. The second section discussed the translated poetry’s effect on non-translators, which was mainly presented by the aids on form and spirit, the enlightenment of emotion, the model of poetic forms and the thinking innovation of images. The third one discussed the translated poetry’s effect on translators, which was mainly presented by offering the creative resource, enlightening creative inspiration, transforming creative style, enhancing the creative capability and practicing the creative conception.Chapter 5, "the sub-translated poetry around the May 4th and the early modern Chinese poetry’s creation", was the special instance of chapter 4, that is, the sub-translated poetry affected the translators. The key word, sub-translation, hasn’t been classified clearly in the field of translation, but it was one of the main translation types which influenced modern Chinese poetry’s creation around the May 4th, so the paper used one chapter to discussed it. The first section approached it was a kind of translation existing objectively doctrinally. The third one analyzed most poets started to create depending on sub-translating. The conception discussed above had to make sub-translated poetry affect sub-translators’ creation, which was the main content of section three. This section enumerated the most famous early poets’ creative movement to prove sub-translated poetry’s influence. Chapter 6, "the whole influence of translated poetry around the May 4th on the early modern Chinese poetry", summed up the above contents. Besides the influence on language, form and creation, the translated poetry helped modern Chinese poetry establish the style status, renovate the formal conception and alter the modernity course of modern Chinese poetry. So the first section discussed the translated poem was the recourse, the creative model of modern Chinese poem. The translated poetry set up the epoch of modern Chinese poetry and testified the accomplishment of modern Chinese poetry’s creation. Section two analyzed that the translated poem broke the Chinese traditional aesthetic and formal conception and started a new aesthetic tradition, which promoted the development of modern Chinese poetry. In section three, the author thought the modern Chinese poetry’s modernity was caused by translated poetry that was the power to force the modernity’s development in ethical culture.The conclusion was the summary of the whole paper. This part discussed the birth and the development was the two factors which had similarities and differences. We ought to admit that the Chinese culture gave the birth to modern Chinese poetry, and we also ought to admit that the translated poetry gave some influence on modern Chinese poetry’s development.更多还原