In modern poetics artistic tendency mainly refers to the fact that more attention should be paid to the beauty of form in new verse. In early days the poets of new verse regard “naturalness” as the highest standard of poetic art which stresses free expression of emotions. This has led to the malparactices that the liberalism in poetics harms greatly the development of new verse. To curb it, there has existed a strong voice for the emphasis on artistic features of new verse since it was first started. Few ye...
现代诗学中的艺术化倾向 ,主要是指对新诗形式美的关注和强调。早期新诗人把“自然”作为最高诗艺准则并一味强调情感的自由自发抒写 ,由此造成的诗艺自由主义流弊严重影响新诗的发展。作为对自由主义诗学倾向的反拨和修正 ,要求新诗注重艺术特性的呼声从新诗创作初期就已存在。五四之后几年间 ,白话—自由诗的弊端越来越严重 ,这种呼声也就越来越强烈 ,终于酿成 192 6年的新格律诗运动。新格律化主张的形式标志着新诗艺术化观念的成熟。由于学术界对现代诗学中的“艺术化”倾向的历史背景及演进脉络缺乏深入的探讨 ,本文尝试对此进行系统的梳理和初步的评价。
WEN Yi - duo put forward the aesthetic principle that ran dominates over emotions and the proud that a New Poetry have rhythm patterns. The two have offered a chance for the standardization of the New Poetry and at the same time a path to the Chinese classic traditions.
闻一多发起的新诗格律化运动，确立了新的艺术形式和美学原则，使新诗走上了规范化的道路，同时也使之接上了中国古典诗歌优秀传统的源流。闻一多所提出的“理性节制感情”的美学原则与新诗形式格律化的主张，既是新诗规范化的步骤，又是新诗民族化的途径，两者是合而为一的。这是闻一多对新诗发展的独特贡献。
This article surveys the theories of the Chinese modern poetic studies in the first decade of the New Literature perios. It focuses on the developmental traces of the theories from the early free verse to modern metrical verse; and stresses the contributions of some great poets to literature. The studies of poetic theories from 1917 1927 influenced greatly to poetic creations and poetic theories in the 1930's and 40's.
梳理了新文学第一个十年中国现代诗学理论的整个概貌 ,重点考察了早期的白话自由诗到现代格律诗理论发展的历史线索 ,尤其是以宗白华、李思纯等为代表的对新诗音乐美与自然音节的重视 ,为以后闻一多的格律诗理论奠定了基础。如果说白话自由诗论和现代格律诗论侧重对新诗形式方面的探讨 ,而以穆木天为代表的“纯诗”理论则对诗歌的内容方面作了有益的探询。1917- 192 7年中国现代诗学理论已经崛起 ,并开始形式多元化的格局 ,对三、四十年代的诗歌创造与诗歌理论产生深远的影响
There are two sources of Chinese Modern Poetry.One is from Chinese ancient peotry, especially from“ci”and“qu”which enlightens new poets to compose the earliest Chinese modern poetry in varying lengths. The other one is from foreign peotry, especially from translated foreign poems which are one of the earliest patterns of Chinese modern poetry.
新诗形式的一个来源是古代诗形式 ,特别是词和曲的形式 ,后两者启示新诗人用白话写出诗行长短不等的诗歌形式 ,这就是最初的新诗形式。新诗形式的另一个来源是外国诗形式 ,尤其是汉译外国诗形式 ,后者本身就是一种最早的新诗形式
Hu Shi's theory of "natural syllables"was the basic theory for modern poems in the early stage. It laid the foundation for the form of moderm poems in terms of natural tempo, intonation and rhyme. At the same time, it endowed modern poems with the characteristics of a prose, for the so - called"natural syllables" are in fact the syllables of a prose. The syllables of modern poems cannot be fully natural. They only have the features of an art on different levels.
胡适的“自然音节”论是新诗形式初创期的基本理论，它在自然的节奏和自然的声调、韵两个方面为新诗形式奠定了基础。但它也导致了新诗形式的散文化，因为“自然音节”实际上是散文的音节。新诗的音节不可能是完全自然的，而只能是在不同程度上被艺术化了的。
The search for a proper form of Chinese new poetry has lasted for more than one hundred years, but no fixed form has been established yet. Therefore, Chinese new poetry does not have an apt place in the history of Chinese poetry and songs. In order to have a fixed form the new poems need some normative principles governing their form. Through a historical review the author has found some laws to follow in the search. In his opinion, making use of quantitative and qualitative sound groups as the basic units,...
中国新诗虽已有近百年的探求历史 ,但迄今尚未定形 ,因此它难以在中国诗歌史上获得恰如其分的定位。新诗如欲定形 ,就该定出一套形式规范原则。本文通过对新诗形式探求的纵向回顾 ,揭示了它在定形化的艰难进程中带有规律性的情况 ,并因此认为 :采用定量与定性了的音组为基本单位 ,形成音组有机组合中等时停逗为特征的节奏表现 ,实属新诗确立形式规范的基础。从这一立论出发 ,本文还把一些已有约定俗成倾向但尚未共同遵奉的形式规范原则整理成一个系统 ,归纳出自由诗、格律诗和自由格律诗三类体式及其内在构成规律 ,然后结合新时期以来新诗定形化的学术见解和创作实况 ,剖析了形式虚无主义的诗学观念给新诗形式探求带来的混乱局面 ,总结其直到 2 0世纪末仍未能实现定形化的教训。
The paper analysis Wen Yidous thoery of poetrical form in chinese vernacular verse, which is representative in the theory of poetrical meter within Xin Yue Movement. Wens main contributions are: emphosis on regularity of chinese vernacular verse; explanation of its constructive principles; suggestion of a genaral principle for creating a new poetrical form--creative cinforming; architectual beauty in the form of vernacular verse. The paper also indicates some limitations in Wens theory, such as ignorance...
新月派格律理论的核心是“格式”论 ,其中闻一多的“格式”论是代表。其主要贡献是 :肯定并强调字句整齐的格律体新诗形式 ;阐明字句整齐这种格式的构成原则 ;提出创造新诗格式的一般原则是“相体裁衣” ;指出新诗格式具有“建筑美”的特点。其主要局限是 :忽视了字句对称的格式 ;强调格式中字数的整齐而不是顿数的整齐
The translation of English poetry into Chinese has had a history of over 100 years, to which four major translation approaches have contributed most. In the translation of English metrical verse, the employment of modern Chinese metrical verse form is a good choice, which demands that foot in the original verse should be replaced by dun in the translated version. "Replacing foot with dun" renders it possible to convey the metrical beauty of the original verse, but the very technique should be applied with c...
英诗汉译在中国已经有一百多年的历史 ,采用的翻译方法主要有四种。具体到英语格律诗 ,采用白话格律新诗形式来翻译不失为一个较好的选择 ,“以顿代步”是其中一项重要的技巧 ,“以顿代步”使得全面传达原诗的韵律美成为了可能。然而 ,不能机械地理解“以顿代步” ,在翻译实践中还必须具体情况具体处理
Originated from Bai Bide's new humanism, the theoretical construction of new poem by the classical poem school in modern China belongs to the thought of new classicalism. There emerged a thought of new classicalism from 1926 to 1931, headed by Wen Yiduo, Deng Yizhe and Liang Shiqiu. Only by incorporating the theoretical construction of modern classical poem school into trend of thought, can we discover origin of it and follow the historic truth of development of the school of New Moon Poem.
中国现代格律诗派关于新诗形式理论的构建 ,缘起于白璧德的新人文主义 ,隶属于新古典主义思潮 ,其间构成逻辑的因果关系。以闻一多、邓以蛰、梁实秋这一“三套马车”群体为主 ,在 192 6— 193 1年间掀起了一股新古典主义思潮。只有把现代格律诗派的理论建构纳入这一思潮中考察 ,才能探明缘发的起因 ,才能符合新诗发展的历史真实。
In the course of the development of Chinese new poetry, Wen Yiduo overcame the fickleness in writing poems. He not only created the new metrical pattern of poetry with national features, but also probed the dramatic version of the new poetry. At present, the discussion on Wen Yiduo' s poetry version has a historical and realistic significance for promoting the nationalization and diversification of the new poetry.
在中国新诗发展史上,闻一多先生克服了诗歌创作中的浮躁现象,不仅创立了极具民族特色的新格律诗歌文本模式,而且还在新诗的戏剧化文本模式上也进行了积极的探索。当前,研讨闻一多的诗歌文本体式对推动新诗形式的民族化、多样化有着深刻的历史意义和现实意义。
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