自由诗理念变迁研究（1917-1937）

【作者】 郑成志；

【导师】 王光明；

【作者基本信息】 首都师范大学 ， 中国现当代文学， 2008， 博士

【摘要】 自由诗(Free Verse),从字面上理解是放弃诗中一切韵法、律法、格式等所有形式因素随意抒写而成的诗歌;但是,作为一种西方现代诗歌体式,西方大多数自由诗中仍然存在着某种形式的格律,仍然讲究音缀、音步、音节甚至还用比较宽的脚韵,同时非常注重节奏的传情达意功能的诗歌体式。这一诗歌体式在晚清到五四的文学革命过程中被引进到中国的“诗体革命”中来,并在随后成为了中国“新诗”发展历程中的主导体式。作为一种西方现代诗歌体式,自由诗在五四文学革命中被引进到中国的“诗歌革命”中来,从“外”向“内”看,是由于在中国社会追求现代化的语境下,一批激进的知识分子急于“求解放”的历史情结;从“内”向“外”看,是因为古典诗歌在唐代走过它的巅峰之后,晚清诗歌形式符号的物化抑制了诗人感性经验与美学诉求的诗歌实践,因而必须以内容的物质性去冲击原有的诗歌形式体制。在这一宏大的历史方阵中,自由诗成了中国“新诗”中最常见的一种诗歌体式。然而,中国“新诗”在接纳西方自由诗体式的过程中是否真正“领悟”了这一诗歌体式所蕴含的可能和限度?在从“文言”向“白话”转换的语言革命中,由于现代汉语的不成熟,中国的自由诗在语言和形式上遭遇了多方的非难和攻击,它是如何回应这些辩难的?从诗歌作为一种独特的文类出发,自由诗无论怎样“自由”,它依然还是诗,但中国的自由诗从一开始是否就遵循了诗歌感觉、情绪思维的特点和基本的文类规则?在不断敞开的诗歌实践中,中国的自由诗又是如何运用本土独特的语言文字应对自身面临的问题?本文认为,中国的自由诗从最早被文学革命倡导者翻译过来,到后来提倡者的创作实践和理论阐释,它始终处在提倡诗体革命的理论家和新诗人的运作和掌控之中;然而,中国的自由诗也不是“任人摆布”的诗歌体式,在其被“规训”的过程中,不仅有其对立面的辩难,更为重要也更为内在的是,它时时遭遇了诗歌作为一种特殊文类必须遵循基本形式规范的质疑和抗辩,因而对其复杂性的讨论也就应从多个层面来展开。本文第一章从中国自由诗的最早形式——白话诗的提倡为讨论的起点,重在展示自由诗这一诗歌体式在被翻译引进的过程中被挪用和改造的命运以及与意识形态的复杂纠缠,同时也探讨了白话诗在向西方自由诗“看齐”中对象征主义和意象派诗歌的误读,从而滑向了浪漫主义的原因。第二章主要论述格律诗派和新月诗派贡献,他们对早期“新诗”的自由化、散文化的反思提出了形式秩序的必要性,为自由诗的发展积累了许多有益的质素;第三章主要论述了自由诗在三十年代的进展。进入三十年代后,自由诗的诗歌体式再一次的成为新诗坛的主流体式,但是,它已不是重复过去的老调,而是在重新接纳中国古典诗词有益资源的同时,吸纳了西方象征主义和意象派诗歌的“精髓”,使得自己在语言和形式方面有了新的超越。在这一章中,笔者从程千帆先生二十世纪三十年代对戴望舒《望舒草》的评论出发,试图重新思考戴望舒诗歌在形式方面的得与失。第四章从众多报刊杂志对自由诗这一诗歌体式的创作实践和理论探讨的角度切入,以废名的“新诗”理论、朱光潜与罗念生对“节奏”的探讨为例,重新检审“自由”与“诗”在语言与形式上相互缠绕又互相磋商的复杂关系。需要提及的是,本文为了使讨论的问题集中和探讨的便利,因而把论题的时间限定在1917-1937年这个时间段,其实,站在反思的立场看,中国自由诗的理念变迁和对其的争论在这一时期也最剧烈,这也可以说是本论题的出发点。更多还原

【Abstract】 Free verse in its literal meaning refers to the kinds of poetry that abandons meter, rhyme, format or other poetic forms. But as a poetic style in modern western poetry, most of the free verses still retain some kinds of meter or rhyme. Attention is also laid to foot, syllable, metrics or even loose rhyme. Cadence and rhythm are taken as expressive means of passion and meaning. The form of poetry was first introduced into China as "the revolution of poetic form" during the late Qing dynasty to the literature revolution of the May 4th period and latter became the mainstream in development of the Chinese "new poetry".Free verse, as a modern poetic form in the west, was introduced into China as the "poetic revolution" during the May 4th literature revolution. Looking from "outside" into "inside", it was under the circumstance of social eagerness for the pursuit of modernization among the Chinese,and driven by the historical complex arisen in a group of radical intellectuals who vowed for "revolution". From the "inside" to the "outside" view, after the poetic peak of the classic poetry in the Tang dynasty, the substantiation of poetic forms and symbols in the late Qing dynasty restrained poets’ aesthetics seeking and idealistic senses during their literary creation. Thus, they felt a need to break the old poetic form and system with new content substances. In the grandiose historical phalanx, free verse became the most common form in the Chinese "new Poetry". However, does the Chinese "New Poetry" on its way to accept the western free verse really "perceive" the potential and limitation of the form style? At the time accompanied by the language revolution of shifting from classic Chinese to vernacular Chinese where modern Chinese underwent an unstabilized stage, the Chinese free verse received tremendous criticism and attacks on its language and forms. How does it response to those debates? In its open-minded poetic practice, how does the Chinese free verse use its regional language to resolve the problems encountered?The thesis argues that from its earlier translations by the literature revolutionists to the creative practices and theoretical clarifications by its proponents, the Chinese free verse had been operative and under the level of proper manipulation. However, the poetic form of the Chinese free verse was not the kind of the "undisciplined". During its regularization, not only there were debates from the opposite but more importantly and internally it encountered from time to time, like any poetic genre, the questioning and defending of its basic format formation. The discussion of these complexities is unrolled on multiple aspects. The first chapter of thesis starts from the earliest form of the Chinese free verse - the advocation of the vernacular poetry, from where attention is allotted on how the free verse that had been imported and translated underwent transplantation and modification together with the entanglement of ideological complexity. At the same time, the thesis also discussed the miscomprehension of symbolism and imagism when the Chinese vernacular poetry took as its example the western free verse, thus lead to the romanticism. The second chapter discusses the contribution of the metrics school and the crescent school, who pondered over the liberation and proselization of the "new poetry" put forward the necessity for form order of the new verse. Their explorations on syllable, meter and cadence of the "new poetry" accumulated valuable qualities for the Chinese new verse. Chapter three explores the progresses of the free verse in the 1930s. After the entry of the 1930s, free verse once again became the mainstream in the new poetic forum, but it was not the repetition of the old tune. It, at the same time inheriting the valued recourses of classic Chinese poetry, absorbed the essence of the symbolism and imagism of the western poetry and made it surpass the other in language and forms. In this chapter, the author starting from Cheng Qianfen’s review of Dai Wangshu’s Wangshucao in the 30s of the twentieth century tries to reconsider the gains and losses of Dai on poetic forms. Chapter four starts from the participation of most papers and magazines in free verse practice and theoretical exploration and taking Feiming’s theory of“new poem”and Zhu Guangqian and Luo Nian’s investigation on“rhythm”reexamines their reflection on the complex relationships and the entanglement between the linguistic form of“free”and“poem”.It has to be noted that in order for the convenience of discussion and exploration of the questions, the coverage is limited to the period of 1917-1937. As a matter of fact, standing on the ground of reflection, the ideological transition and debate of the Chinese free verse at the period was immense. That may constitute the starting point of the thesis.更多还原