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开一代诗风的郭沫若被“径直要领袖一种文学之潮流或派别”的闻一多视为非“极端唯美论者”,因为 ,郭沫若尊崇的是平民精神 ,闻一多追求的是绅士情怀 ;郭沫若作诗不讲形式 ,注重“自然流露”的“写”,而闻一多作诗讲究形式 ,主张“三美”之格律的“做”。由其诗论的龃龉所决定 ,他们二人在诗歌的内容和风格方面也存在着迥然不同的差异。郭沫若的《女神》表现的是疾风暴雨式的五四时代精神 ,闻一多的《红烛》体现的则是雍容冲雅 ,温柔敦厚的贵族气质。虽然如此 ,但闻一多却又始终挣不脱对郭沫若的才情崇拜。这不仅因为他们都提倡“为艺术而艺术”是西方唯美主义的最早传人 ,都在创作中力主想象 ,推崇情感并运用象征的手法形成了浪漫主义的风格 ,更重要的是 ,郭沫若《女神》中的爱国主义精神及其大气 ,使闻一多不能不感佩得“五体投地”
Because Guo Moruo, who pioneered a poetic style, was regarded as “the most radical aestheticist” by Wen Yiduo, “a leader or a literary trend or faction”, since Guo Moruo respected the spirit of the common people and Wen Yiduo pursued a gentleman’s feelings. Guo Moruo did not talk about the form of poem and paid more attention to the “writing” of “natural exposition”, while Wen Yiduo wrote the poem about the form and advocated the “doing” of the “three beauties”. Due to the poetic theory of their poetic theory, they also have very different differences in the content and style of poetry. Guo Moruo’s “goddess” shows the spirits of the mighty May Fourth Movement. Wen Yiduo’s “red candle” reflects grace and elegance, gentleness and nobleness. Nevertheless, Wen Yiduo has always been able to earn the worship of Guo Moruo’s talent. This is not only because they all advocated that “art for art” is the earliest descendant of Western aestheticism, both formed the romantic style in the creation of mastering imagination, promoting emotion and using symbolism. More importantly, Guo Moruo’s “goddess” In the spirit of patriotism and the atmosphere, Wen Yiduo can not but admire the “five-body vote”