中国现代诗学建构中的吴芳吉文艺思想研究

【作者】 于峰；

【导师】 孙书文；

【作者基本信息】 山东师范大学 ， 文艺学， 2012， 硕士

【摘要】 吴芳吉（1896-1932），字碧柳，号白屋，自称白屋吴生，世称白屋诗人。他生活在一个承前启后的时期——五四新文化运动时期，是一个从旧体诗到新诗的“过渡诗人”。在这样一个新旧文学交替的特殊时期，吴芳吉积极倡导诗歌改革，提出了很多独特并富有先见性的文学主张，并在诗歌创作方面进行了大胆地尝试和创新，创造出别具一格的“白屋诗体”，成为转型期“多元”诗歌文化中的重要“一元”。他的持中理论为古典诗歌的现代化转型做出了贡献。本论文在20世纪初期中国诗学理论建设的背景下，探讨吴芳吉文学主张的理论价值，期望对当代诗学理论的建构提供借鉴。本论文分为以下五个部分。导论。简要介绍吴芳吉的生平事迹、创作成就,针对学术界对于他人生观、文学观、文学作品的研究现状，结合当前诗坛遇到的“非诗”、“伪诗”等一系列问题，引出对吴芳吉诗歌理论价值和创作实践的探讨与研究。他持论中允的“接木论”对当代诗坛一些极端的观点和做法产生了校正作用，其独创精神和诗中所凝聚的诗魂也对当代诗歌的发展产生了一定的导向作用。一、吴芳吉文艺思想之“中西”观。吴芳吉的诗学理论是在新诗发展的前两个“十年”的背景下形成的。1917年至1926年新诗发展的第一个十年，新文化运动蓬勃发展，尤其是在“文学革命”口号提出以后，五四新文化运动者们极力主张“欧化”。新诗发展到第二个十年，政治上的“回归”完全取代文学上的“西化”，民族主义文艺运动兴起并高涨。吴芳吉持论中允，赞成诗歌改革，但认为改革应当有度。他对保守派墨守成规、固步自封、不求创新的做法提出否定意见，又对胡适、钱玄同等人所倡导的摒弃传统、全盘西化的“另植论”进行了批判，并明确提出“接木论”的改革目标。这对当代诗歌的发展提供了一定的导向作用。二、吴芳吉文艺思想之“古今”观。新诗发展的第一个十年，以复古派、学衡派、甲寅派为代表的守旧派先后与五四新文学革命倡导者之间进行了三次大规模的论争，焦点集中在诗歌的语言文字和文体上。第二个十年，古今之争虽有所缓和，但“唐诗复兴”和“中小学文言运动”在学术界依然掀起了几次小的波澜。吴芳吉突破新旧，自立法度，在语言方面赞成改革文言文，但否定一味地追求白话入诗，主张文白兼用；在诗歌境界方面主张探索、创新，营造新境。这对于当代诗歌的改革也具有一定的借鉴价值。三、白屋诗风：论交四海内，白屋独殊姿。吴芳吉在其“中西”观和“古今”观的影响下，积极进行诗歌创作，推陈出新。这篇论文主要从形式和内容两方面对白屋诗风进行了研究，期望对当代诗歌发展产生一定的正面影响。在形式上，白屋诗不拘一格，唯其得体。论文主要从句式、语言、韵律、修辞手法、写作技巧、抒情方式等方面进行论述。在内容上，白屋诗魂主要体现为吴芳吉“三日不书民疾苦，文章辜负苍生多”的爱国、忧民精神。《婉容词》、《两父女》、《巴人歌》、《笼山曲》、《护国岩词》等名篇皆是如此。白屋诗体和白屋诗魂为当代诗歌的发展提供了一种新的思路。结语。吴芳吉在新旧诗学嬗变转型的特定历史时期，始终坚守“不中不西、不古不今”的“接木论”观念，并在此思想的指导下，创作出了特色鲜明的“白屋诗”，这对当时新旧两派极端的观点和作法起了一定的校正和引导作用。他的独创精神和诗中所凝聚的“诗魂”对于当代诗坛也有一定的借鉴价值。当代诗歌创作稂莠不齐，缺乏先前的生机与活力，情感日趋淡漠，诗意日渐匮乏，粗鄙恶俗之作日益泛滥，一些诗人在创作过程中急功近利、浮躁，刻意追求形式上的新奇独特，在内容上，毫无诗魂可言。吴芳吉的文艺思想恰好给予我们以很好的启示：创新是一种生存发展的手段，这种创新应该是全面的，绝不是狭隘的、片面的；不管时代如何变迁，诗歌形式如何变化，诗人都要坚守“魂”的原则，做到诗中有魂，有所寄托，切忌漫无目的、随波逐流。更多还原

【Abstract】 Wu Fang ji (1896-1932), the word Bi Liu ,assumed name White House, claim to be theWhite House Wu Sheng,alternative name White House poet. He lived in a transitional period----the period of the May Fourth New Culture Movement. He was a“transitional poet”ofOld-style poems to Modern-style poems. In such a special alternate period between the New andthe Old, Wu Fangji advocated poetry reform, put forward a lot of unique views of literary, andcarried on the bold try in the poetry creation. He created the distinctive“White House Poem”,which made him become the important one in the "pluralism" of transitional period, and made acontribution to the transition of the Classical Poetry. This dissertation aims at discussing theliterary theory value of Wu Fangji, tasting the unique literary implication of“White HousePoem”combined with his creation at the background of the Chinese poetics in the early 20thcentury, and looking forward to providing reference to the construction of contemporary poetics.This dissertation consists of five parts.The introduction.It’s briefly talks about Wu Fangji’s life story and creative achievement. Inallusion to literary research on his outlook on life,the literary view,literary works at currentacademe. Combined with the current poetry encountered"non-poem","false poem" and a seriesof problems,leading to discussion and research on Wu Fangji’s poetic theory and creativepractice.His theory play an import part in some extreme views and practices on contemporarypoetry. What’s more, his creative spirit and poetry cohesion Poet oriented the development ofcontemporary poetry.The first part analyses Wu Fangji’s view on“China and the West”based on the argument inthe early 20thcentury. Wu Fangji’s poetic theory formed at the background of the first two“tenyears”of the Modern-style poems. From 1917 to 1926 is the first“ten years”of the Modern-stylepoems. Since the advance of“Literature Revolution”, the New Culture Movement developedvigorously, people appeal to the“Europeanization”. In the second“ten years”, political“regression”replaced the“Westernization”of literature. Nationalism Literature Movement rised.Wu Fangji held impartial views, approved of the reformation of poetry, and also considered thatit had its scale. He animadverted on the“Conservatism”and“Europeanization”, and put forwardhis specific reform aim :“Inoculation theory”. The second part analyses Wu Fangji’s view on“Ancient and Modern”based on theargument in the early 20thcentury. There were three argumentations of wide scope between the“Old School”and the exponential of the New Culture Movement in the first“ten years”of theModern-style poems, which focused on the poetry language and style. In the second“ten years”,the argument between“Ancient and Modern”existed none the less, but“Tang Renaissance”and“primary and secondary classical movement in academia”is still set off a few small waves. WuFangji broke through the old and new, established standard of himself. He advocated to use thecolloquial language and Classical Chinese together, approved of the reformation of ClassicalChinese, negated pursuing Modern Chinese stubbornly; In the bourn of the poems, he advocatedthe exploration and innovation, constructed new realm.The third part analyses Wu Fangji’s unique flavour of“White House Poem”. Based on hisview on“China and the west”and”Ancient and Modern”,he wrote poem actively. Which mainlydiscusses the exploration and innovation in form and content of his poems. His“White HousePoem”didn’t stick to one pattern, and then discussed his“White House Poem”from the sentence,language, prosody, rhetoric, writing skills, lyric ways and other aspects. As for the content, thespirit of“White House Poem”is mainly embodied in Wu Fangji’s patriotic spirit and peoplespirit. And produced a lot of famous works.The epilogue discussed the value and realistic meaning of Wu Fangji and his“White HousePoem”. In the specific history period of transition between the Old and the New, Wu Fangjialways adhere to the“inoculation theory”of“Not China and Not the West, Not Ancient and NotModern”, and created the distinctive“White House Poem”under the guidance of the thought,took effect on the correction and guidance for the extreme views and practice of the Old and theNew. There are different kinds of poems in contemporary poetry.Wu Fangji’s theory plays animport part in the development of the New Poem,specially his creative spirit and“soul ofpoetry”.更多还原