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就意象及语言形式方面来探讨澳门新诗的得失,可以衡量其与当前大陆诗歌的距离。笔者要探讨的并非诗人所欲表达的内容,而是呈现内容的意象与语言形式。以《澳门文学丛书》所选陶里《马交石》、淘空了《黄昏的再版画》、苇鸣《自我审查》为澳门新诗的例证。就《马交石》的总体风格而言,陶里承传的谱系是西方浪漫派浮夸的崇高文体与我国五七言的堆砌;淘空了是个前期象征派,他以波德莱尔的修辞法继续倾覆浪漫派直白的意象;苇鸣只是模仿了现代诗“反修辞”的形式,未能体悟这类形式实为开拓内部世界所设;林玉凤以传统修辞抒情,诗意却来自现代人性,她的诗姑且可称为新传统抒情诗;流星子无疑是个城市诗人,城市是他诗作中最常见的意象,也是他诗意情怀之所在。
To explore the pros and cons of new poems in Macao in terms of images and language forms, we can measure their distance from the current mainland poetry. What the author wants to explore is not the content that the poets want to express, but the image and the language form of the content. The “Macao Journals,” selected Tao Li “Ma Jiao Shi”, Amoy empty the “Twilight reprint”, Reming “self-censorship” as an example of the new poems in Macau. As far as the general style of “Ma Jiao Shi” is concerned, the genealogy inherited from Taoli is the exaggerated style exaggerated by the western romanticism and the accumulation of five or seven words in our country. Amoy is a pre-emblemist and he uses the rhetoric of Baudelaire Law continues to overthrow the straightforward image of romanticism; Wei Ming merely imitates the modern poem “anti-rhetoric ” form, failed to understand this kind of form is actually open up the internal world; Lin Yufeng lyrical with traditional rhetoric, poetry comes from the modern Humanity, her poems and can be called new traditional lyric poetry; meteor is undoubtedly a city poet, the city is the most common image in his poetry, but also his poetic feelings.