【作者】 姜艳；

【导师】 吴周文；

【作者基本信息】 扬州大学 ， 中国现当代文学， 2003， 硕士

【摘要】 本文将何其芳三四十年代散文的诗性创作作为个案研究。何其芳散文的诗性创作实际是指何其芳散文中诗意的表现。他的散文诗性创作进行了一场“思想”和“艺术”上的“革命”。 他的散文是诗性的，是一种诗性的散文，他注重人格的审美、表现自我的真实的感情，抒写真善美的思想，这种思想感情与大众、与时代、与国家应该说还是息息相通的。何其芳的诗性散创作是符合“表现自我”的内核要求的，同时也有一个明显的嬗变过程：他的《画梦录》和《刻意集》真实反映孤独者内心的寂寞与痛苦，也不失突破个人小天地，前进奋斗的希望，体现了他人文世界与现实世界的整合；《还乡杂记》则在个人感知的基础上，对社会现实进行了深入的认知，表现为一种艾略特式的“荒原”意识，他以批判的眼光来审视社会、审视现实，并对个体生命存在进行了荒诞的思考。到了延安之后，何其芳彻底埋葬了“小我”，抒写了一曲民族国家的神话，但却时常处在自我身份认同与艺术定位的矛盾冲突之中，突现了时代精神和个性特征的悖论，他有意识地表现时代、表现政治，过于注重散文的功利价值，使他的散文创作滑向了文以载道的老路。 何其芳在他的散文创作中所采用的表达方式是诗性的，他运用诗的手法与技巧，讲究意境的生成，形成了象诗一样的跳跃、灵动、飘忽的节奏。何其芳的早期散文写得很美、极具诗意，代表了他散文的最高成就，为当时散文创作作出了独特的贡献。何其芳早期诗性实践最主要致力于“超达深渊的情趣”的营造和情境交融的诗化境界的创造上：将散文与诗结合，运用恰当的表现形式和技巧，创造了与作者主观情感相协调的情趣与意境；而后期对散文诗性开始消退，主要贡献是体现在散文体式革新与拓展上，但他的散文创作一味为延安服务，为政治服务，诗性的缺失导致了他的创作在艺术上的滑坡。严格地说，他的后期散文在艺术上已经背离了散文的审美特质的要求，是退步而不是进步。他散文艺术中热情的自我抒情是一以贯之的。 他的散文创作代表了三十年代的最高水平，是二十年代散文的发展。他的诗性创作是受到许多主客观因素的制约的。更多还原

【Abstract】 We take He Qifang’s poetic creation in his prose written in 1930s and 1940s as the main topic of this essay. The poetic creation in He’s prose refers to the poetic expression in his prose, which carries a revolution on thoughts and arts.When we say that He Qifang’s prose are poetic, it means in his works the aesthetic of personality is focused on, true feelings are expressed, the genuine, goodness sand beauty is written. All of these are shared with the people, the era and the country. He Qifang’s poetic prose are hi conformity with the requirement of self-expression, and at that time, the process of his changes is obvious: Huamenglu and Keyiji are the true reflex of a solitary person’s loneliness and pain. These works, after all, break individual limits. The hope of going forward and striving shows the combination of his world of humanity and the outside realistic universe. Huanxing Zaji, based on individual perception, furthers the cognition of social reality, and conducts anEliot-styled consciousness of wasteland. He Qifang observes the society and the reality froma critic point of view, and considers absurdly the existence of individual life. After arriving in Yan’an, he berries thoroughly the individual, and begins writing the national myth. However, he is always in the contradiction of self-recognition and art-location. He sharpens the contract of era spirit and personality, deliberates the times and politics, overemphasizes the utilitarian value of prose, all of which make his works creation back to the thoughts that writings are for conveying truth.The expressive ways of He Qifang are poetic. He often uses the techniques of poems. He is particular about the generation of artistic conception. So a kind of poetic rhythm, which is jerky, active and floating, is formed eventually. At his early stage, the works are written beautifully and they are the presentations of his highest level of prose writing. And as well, they contribute particularly to the prose creation at that very time. He Qifang’s early practice on poetic prose is mainly for two aspects: the construction of unconventional and profound interests, and the creation of the poetic states in which feeling and setting are happily blended. That is, with the combination of prose and poems, by using proper expression forms and skills, he conducts a state that accords to the writer’s subjective feelings. While at his later stage, this poetic feature gradually fades away, and his mam contribution concentrates on innovating and developing the forms. But the loss of poetic feature leads to his going downhill in his artistic creation. Strictly speaking, his later prose has departed from the aesthetic characteristics. That is retrogression, not progression. But after all the earnest self-expression runs through all stages of his prose writing.Hw Qifang’s prose creation represents the highest level in 1930s’ prose, and it has developed the prose works in 1920s. All in all, his poetic creation is restricted by many subjective and objective factors.更多还原