诗界革命：中国现代新诗的发生

【作者】 胡峰；

【导师】 吕周聚；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2010， 博士

【摘要】 晚清文学的研究越来越热,其中的诗界革命研究同样如此。但从诗歌本体的角度来整体把握诗歌内部世界的新变与转型的研究仍显不足。本文力图进入诗歌的本体世界,对诗歌的语言、声韵节奏、意象及文体诸要素进行具体考察,从中探寻现代新诗发生的历史根据与内在动力,凸显诗界革命与现代新诗发生之间的内在关联。本文所用的“本体”概念,主要是指构成诗歌审美世界的诸多要素的形态及特征,主要包括语言、声律节奏、意象、文体等构成要素。这些要素不仅是诗之所以成为诗的必备条件,而且也决定着诗歌的审美面貌与呈现风格。考察诗歌的转型轨迹,这些要素不仅无法回避,而且必须作为研究的重心。为避免形式主义研究存在的片面性,本论文拟运用发生学原理、文化研究、现代语言学、结构主义和形式主义等理论,采用文化学、历史与审美相结合的研究视角,对诗界革命的诗歌本体进行整体观照与文本细读。从诗歌本体的角度看,研究者对诗界革命的内涵与外延的界定仍存在一定的误解。最突出的表现就是把早期的“新学诗”置于诗界革命的范畴之外而不顾。本文重新发掘了“新学诗”的文学意义及历史价值,并把它还原为诗界革命的开端。同时还纠正了诗界革命并非诗歌“革命”而是“改良”的认识,进而对诗界革命的发展轨迹进行了整体梳理。第一章主要从诗歌的基础——语言切入,指出诗界革命已经催生了早期的白话诗。该章首先分析了诗界革命中语言变化的背景与动力,指出诗界革命的语言变革是处于晚清语言文字变革的时代背景下而展开的。梁启超、黄遵宪等诗界革命的先驱与现代新诗的早期诗人在诸多方面存在着相通之处:语言是他们寻求诗歌变革的共同突破口,进化论的思想是其共同的理论武器,而采纳口语、方言、外来语入诗则是他们共同的变革策略与追求目标。这其实就标志着现代白话语言的最初的诞生。黄遵宪率先提出“我手写我口”的倡议,确立了以口语对抗文言的方策。这与当时的社会背景有关,特别是基督教文化的宣传者对口语的推广使用使口语得以普及。诗界革命的诗人主要是看中了口语自身的鲜活性、通俗性、晓畅性、交际的便捷性以及明显的主体性等特征。而这正好契合并启发了胡适“白话文学”观的出台。方言除了具有口语的一般特征,还有自身的独特之处,最突出的就是它以边缘化的身份形成对主流文言的对抗姿态,反叛性与抗争性自然蕴含其中。除此之外,方言还以不同的地域特色来丰富诗歌的语言与审美世界。方言入诗不仅体现在早期白话诗人胡适、刘半农、郭沫若等人的创作中,而且也受到上个世纪八、九十年代诗人的青睐。而方言自身的矛盾与张力,正是其具有长久生命的关键所在。从最初的“挦扯新名词以表自异”的“新学诗”开始,诗界革命的同人们就开始把新名词引入诗歌创作这一“高尚的楼台”里,后来梁启超对诗界革命的目标进行了适当的调整,但新名词仍可以留存在诗歌中。新名词的介入不仅标识着一种新思想的出现,而且还会引起诗歌本体的变化,比如声韵节奏的调整与语法句法的变化等,并进而改变诗歌传情达意的方式与效果。现代新诗中的新名词与新语句更为突出,在郭沫若等诗人那里甚至出现了直接移植外来词汇入诗的现象,外来词汇所代表的新事物被改造成诗歌意象的情形也不乏其例。口语、方言、新名词新语句等不同风格、不同形态的语言既动摇了传统诗歌的语言基础,同时也为新型诗歌的孕育与诞生耕耘了土壤,预示了方向。第二章重点分析诗界革命中的诗歌创作在声韵节奏上对传统诗歌的突围与创新,这是诗歌从传统的格律模式向现代自由声韵节奏转型的重要表现。声音是语言不可分割的一个侧面,而诗歌对声音的依赖性又远远超过小说、散文等其他文学类型。诗歌古体近体之分在很大程度上就是以声韵节奏作为衡量标尺的,而诗歌本体的变化也势必体现在声律节奏方面。诗界革命对传统诗歌的反叛也体现在对其固定严密的声韵节奏的颠覆上。首先在声韵规则上,近体诗有着严格的要求,即使稍有违反即“拗”也要及时予以补救。诗界革命的创作则频频触犯近体诗的大忌——出韵,把近体诗中严禁使用的不同声韵有意排列在同一首诗中;同时通过使用近体诗中罕见的仄韵,突破了近体诗与古体诗的界限;而对平仄规则的违背,更是彻底解构了近体诗的声律规范。有的诗作甚至舍弃了古体诗相对自由宽松的声律限制,而采纳了超越于近体诗与古体诗之外的全新的诗体形式。这不仅是诗人自觉反叛自唐代以来的声韵传统的具体体现,更是一种新的诗歌声韵形式的预示与开端。它昭示着将来的诗歌会在既已成型的声律规范之外寻求更为自由、广阔的声韵形式,从而朝着自由诗体的方向拓展开来。在胡适的早期诗歌中,重古风轻格律的现象也极为突出;稍后出现的自由体诗歌,则彻底抛弃了近体诗与古体诗的声律模式,把诗界革命中对声律节奏的突破精神发扬光大。其次,诗界革命还对传统诗歌的节奏模式进行了大胆的“破解”。在词语的组成上,诗人采用了双音节、三音节乃至更多音节的词汇入诗,使得传统诗歌的节奏划分模式难以为继;在音节的排列组合规律上,也突破了传统节奏的程式化规则,即五言的“二二一”(或“二三”)、七言的“二二二一”(或“二二三”)规律,在七言诗中甚至出现了“六一”的节奏形式,显然违背了先抑后扬的传统诗歌的语言规则;而语义组与语音组不能两全的现象更是比比皆是;另外,散文中常用的“之”、“乎”、“者”等语助辞也频频冲击着诗歌的传统节奏模式。声韵节奏上的这些变化更能够契合并张扬创作主体的现代情感与体验。这种调整与更新的意义是双重的:既在继承与改造传统的同时开启了现代格律诗发展的通道,又在此基础上催生并启发了现代自由体诗的诞生。而现代自由体诗和现代格律诗的同时并存与此消彼涨,贯穿了整个中国现代诗歌发展的历程。第三章着眼于对诗界革命中意象使用情况的分析,指出诗界革命创作中的意象已经显露出现代性的特质与趋向。诗歌中的意象是指寄寓了诗人情感与意念的客观事物,它与诗歌特别是中国诗人以形象思维见长的特点密切相关。诗界革命对诗歌本体的改造,同样也以意象作为对象与表现形式。首先,在物象的选择和改造上,诗界革命增加了许多前所未有的、具有现代性内涵的事物作为意象的基础构成,从而极大地扩展了物象的范围与表现能力;与此同时,在原有事物或景物的基础上,通过寄寓传达诗人新的情感体验与思想认知,同样使原有的“象”与新颖的“意”结合在一起,构成新的意象类型。其次,诗界革命的创作还把传统诗歌中一直没有得到重视的事象叙写作为表现的重点表现出来。事象的增加既是诗人理性分析与归纳能力提升的重要表现,又使得诗歌增强了叙事情节的完整性与连贯性,同时促进了表述方式的精确与具体化,另外对诗歌声律也具有一定的改造功能。因此,诗界革命中偏重于事象叙写的诗歌繁盛的现实,正是诗歌本体结构与外在形态由传统格律诗向现代自由诗过渡的重要表征之一。除此之外,诗界革命的创作者把大量的抽象的概念名词引领进诗歌的殿堂,这自然会挤压意象占有的空间并影响其在诗歌中的地位。而这种抽象名词的出现,不仅影响了诗歌的声韵节奏、对仗、诗体形式,而且还迫使诗歌的表意手段及功能由具象向抽象转变,从而催生了现代说理诗的发生。第四章重点考察诗歌文体结构与形式向现代诗体形式的转型。诗界革命的创作成果在诗体形式上开始呈现出现代自由体诗歌的特征。文体是指一定的话语秩序所形成的文本体式,它是作家、批评家独特的感觉方式、体验方式、思维方式、精神结构和其他社会历史、文化精神等共同作用的结果,也是上述各种因素的直接体现。诗界革命中的诗歌文体受外部环境、作家观念、传播工具特别是语言等诗歌本体要素的共同作用,无法固守原来的结构特征与文体形式,“变”成为其继续生存的不二选择。在“变”的具体路向上,诗人们首先选择了具有新鲜活泼的文体特性的民谣作为资源与镜鉴,以此来消解“庙堂”诗歌的僵化雕琢与固步自封;同时,不同地域的民谣含蕴着不同的文化形态,它的出现同样能够起到丰富诗歌文体类型的作用。其次,为了恢复诗歌的音乐本性,诗人们还大力倡导并积极实践歌体诗创作。他们分别以歌行体为模板,同时汲取异域音乐资源进行歌体诗的独创与普及,试图以音乐特有的感染力、形式上的自由灵活而又不失诗歌旋律的特征改造旧体形式,实现诗歌体式的创新。再次,采纳“以文为诗”的创造策略进一步解放诗体,以不拘形式、不拘格律的散文化特征把诗歌文体引领进更为自由、更为广阔的天地。这种散文化的诗体形式主要表现为以虚字、口语词汇以及新名词入诗,在对仗、韵律、节奏上逐渐脱离传统格律诗的模式,诗行上则呈现出长短不一、灵活多变的散文化句式。这不仅更新了传统诗歌单一稳定的文体形式,而且也极大地拓展了诗歌的表现范围与表达效果。同时,更是诗人主体意识与精神结构的集中体现。这种诗体上的创新策略与发展路向,不仅为现代新诗的发展提供了样板参照,而且也成为新诗体式建构的一致路径。结语部分主要是对诗界革命之于现代新诗发生的意义进行论析。主要分析了诗歌创作作为文学活动的四个要素:外在环境(世界)、创作主体(诗人)、接受者(读者)以及诗歌文本(作品)之间的相互影响、相互作用,特别是它们对现代新诗的发生所起到的重要作用。无论是外界环境还是创作主体,抑或是接受主体,他们的变化必定会影响诗歌本体并通过它表现出来。而且,诗歌的转型研究也必须以诗歌本体的变化为中心,因此诗界革命在语言、声韵节奏、意象以及文体结构及形态的变化对于现代新诗的发生起着关键性的作用。可以说,诗歌本体的嬗变成为现代新诗发生、发展的最突出表征与路向标。而诗界革命是现代新诗发生的雏形与预演。更多还原

【Abstract】 Just like the literature in Late-Qing Dynasty’s, the study on the Poetic Revolution in Late-Qing Dynasty is becoming more and more. But the research about the interior world from the main parts of poetry is still not enough. This paper will observe and study the main parts of poetry such as language, rhyme and tone, image and style to find the historic source and interior power and give prominence to the connection between the Poetic Revolution in Late-Qing Dynasty and the genesis of Chinese Modern Poetry.The Main parts refer to the form and feature of many aesthetic elements constructing the poetry, such as language, rhyme and tone, image and style, etc. All of them not only is the essential condition for the poetry, but also decides the poetic aesthetic feature and character. So it should be the key points to study. This paper will research and close-read the main parts of poetry in the Poetic Revolution in Late-Qing Dynasty with the methods including Genesis, Culture Study, Modern Linguistics, Structuralism and Formalism and from the combination angle of Culture Study, history and aesthetics.There are many misunderstanding for people to define the intension and extension from the angle of the main parts of poetry. It displays that the Poetry with New Knowledge in Early Period is not a part of the Poetic Revolution in Late-Qing Dynasty. The paper finds out the literature and historical value and takes it as the beginning of the Poetic Revolution in Late-Qing Dynasty. And it also corrects the mistake to take the Revolution as Reformism, and then organize the whole development trace of the Poetic Revolution in Late-Qing Dynasty.Chapter 1 penetrates from the language which is the foundation of poetry. This part analyses the background and power for language to change in the Poetic Revolution in Late-Qing Dynasty. It points out the language changing is a part of the language revolution in Late-Qing Dynasty. The pioneers in the Poetic Revolution in Late-Qing Dynasty such as Liang Qichao, Huang Zunxian is similar with the early Modern poets in many ways: language is their common breakout to look for the poetry changing; the theory of evolution is the thinking weapon for both of them; and spoken language, dialect and loanword are their common changing tactics and aims. At first, Huang Zunxian put forward the proposal of Writing one’s words with one’s hand, which established the tactics to resist classical Chinese by spoken language. It is connect with the social background at that time, especially the Christian missionary to use and popularize spoken language. The poets in the Poetic Revolution in Late-Qing Dynasty valued spoken language because of its vividness, popularity, lucidity, the convenience for communication and obvious principality. This is just corresponding to the birth of the thought of vernacular literature by Hu Shi.The dialect has its own characteristics which are different from spoken language: its edge status opposing the classical Chinese of main status, rebelling and resisting feature. Except these, the dialect can make the poetic language and easthetic world rich by its various local culture. The poetry written in dialect is not created by early vernacular poets including Hu Shi, Liu Bannong, Guo Moruo, etc. it was also used by the poets in 1980’s. The contradiction and tension are the keys for dialect to continue forever.From the beginning of the poetry with new knowledge showing its difference by using new words, the poets in the Poetic Revolution in Late-Qing Dynasty drew new words into poetry. And then Liang Qichao adjusted the aim of the poetic revolution, but new words can be kept in poetry. The intervention of new words is not only marking the appearance of a kind of new thought, but also touching off the main parts of poetry. The new words and sentences are more outstanding in modern poetry. Guo Moruo transplanted foreign words directly into poetry, and some other poets transformed foreign things into poetic images. Various style of language constructed by oral language, dialect and new words and sentences shakes the language foundation of conditional poetry, and ploughs the soil for modern poetry to breed and emerge, and points out the direction at the same time.Chapter 2 analyses the poetic sound and rhythm in the Poetic Revolution in Late-Qing Dynasty breaking through the traditional poetry and creating. The sound is an inseparable part of language, and poetry depends on sound more strong than other literary styles as story, essay, etc. The difference between form of classical poetry and“modern style”poetry(which is also called lüshi)is based on the sound and rhythm. So the change of main parts of poetry must include the sound and rhythm. In fact, the creation in the Poetic Revolution in Late-Qing Dynasty also resisted the regular and strict sound and rhythm rules of“modern style”poetry. Firstly, it must save the error-sounding if any word disobediences the regular and strict sound and rhythm rules of“modern style”poetry. But the poetry in Poetic Revolution in Late-Qing Dynasty often disobeys the rules. And they broke through the limits between form of classical poetry and“modern style” poetry by using oblique tones. It disintegrated thoroughly the sound model of“modern style”poetry by violating the tone patterns in classical Chinese poetry. Even some poetry abandoned the broader sound rules of classical poetry and took new completely form out of classical poetry or“modern style”poetry. It is the beginning of new sound form, which forebodes the poetry in future will find the more free and broad sound form and develop toward free style poetry. And the phenomenon of stressing on classical poetry and despising lüshi appeared in Hu Shi’s early poetry, and his later poetry abandoned completely the sound model of classical poetry or“modern style”poetry and carried forward the spirits of breaking through the traditional sound rules in Poetic Revolution in Late-Qing Dynasty.Secondly, the Poetic Revolution in Late-Qing Dynasty also made a breakthrough from the traditional poetic rhythm. The poets used words with disyllable, three-syllable and more syllable and made the traditional poetic rhythm stopped. The way to rank and combine syllables also disobeyed the traditional rule, and the examples of the meaning unfit for sound group are very common. Except for these, some auxiliary words used in essay usually are absorbed into poetry that attacked the traditional poetic rhythm continually. There are double significances of change of poetic sound and rhythm in the Poetic Revolution in Late-Qing Dynasty: it opened a new way to modern poetry with traditional pattern and rhyme and gave birth of modern poetry with free pattern and rhyme, too. And the two kinds of poetry co-exist and penetrate the whole history of Chinese modern poetry.Chapter 3 views from the angle of images in the Poetic Revolution in Late-Qing Dynasty. The image means the objective things conveying poet’s feeling and ideas, which has tight relationship to the thinking way of traditional Chinese poets. The poetic images are another aim and form to change poetic parts in the Poetic Revolution in Late-Qing Dynasty. At first, many completely new things had being changed into images and enlarged the range of poetic images. At the same time, the indigenous things being conveyed fresh feeling and ideas also became new images. Second, the event being neglected for long time was taken as key images to express in the Poetic Revolution in Late-Qing Dynasty. This is an expression of promotion of the poet’s ability of rational analysis and induction, and advances the expressing way to be accurate and concrete. In addition, it had the force to reform the poetic sound and rhyme. So the fact that the event was taken as poetic image in the Poetic Revolution in Late-Qing Dynasty, is an important symbol for poetry to change from the traditional pattern to modern free pattern. That has promotive power to the birth of modern poetry. Except for these, a lot of nouns meaning abstract idea were led into the poetry by the poets in the Poetic Revolution in Late-Qing Dynasty, which should press the space and the status of images in poetry. The appearance of abstract nouns does not influence only poetic sound and rhythm, antithesis formed by lines or sentences matched in sound and sense and style, but also forced the way and function of expressing to change from concrete to abstract. That hastened the birth of modern reasoning poetry.Chapter 4 mainly focuses on the structure and form of poetic style. The style is a kind of forms composing of language order, and the resultant and performance of feeling, experience, thinking, soul of author or critics, society, history, and culture. Being influenced by environment, poets’concept, mass media, language and other factor of poetry, the poetic style couldn’t keep the structure and character of traditional poetry, and change is the only choice for it to live on.Firstly, the poets chose the style of folk rhyme that has fresh and vivid characters as resources and reference to ease the traditional rigid and obstinate style. And the appearance of folk rhyme can make the poetic style rich. Secondly, poets advocated and practice song-style poetry to renew the music nature of poetry. They took the style of GeXing and absorbed foreign music resources to create poetry with song-style to reform traditional poetic style and create new style by the moving power of music, the free style with beautiful melody. Thirdly, they adopted the tactics of“writing poetry in prose style”to lead poetry into a more free and broad space. There are many characters of poetry in prose style: function words, oral words and new words were written into poetry; the poetic model as antithesis, sound and rhyme was divorced from the traditional poetry further and further; and the poetic lines were consisted of shorter or longer sentences. That does not only renew the single and fixed poetic style, but also enlarges the expressing scope and enhances the expressing effects. And it is the manifestation of poets’subjective sense and spiritual structure. That does not provide the model for modern poetry, but also become the same way for modern poetic style.The main four factors consisting of literary activity as world, author, reader and works influenced and affect each other. The changes of world, author and the reader must influence on and shown by the poetic main parts. It is said that the change of poetic main parts is the most important indication and sign for modern poetry to be born and develop. Based on this, the significance of the Poetic Revolution in Late-Qing Dynasty is outstanding more and more.更多还原