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和谐节奏理论的代表人物主要是新月派诗人,他们认为节奏体现的是一种和谐关系,即一种“音节流转和有机整体”的美学效应。在节奏单元建构上,他们追求“等时性”和“比例”感,其中孙大雨提出“音组”说,饶孟侃提出“拍子”说,闻一多提出“音尺”说。他们重视节奏层级的组织,特别注重行式建设,孙大雨对“音步内的音节数”与“诗行内的音步数”作了探讨,朱湘强调“行的独立”与“行的匀配”。在诗体建构中,新月诸人大都运用“参差均衡”的结构之法,在音韵试验中追求“统一和协调”。这种诗歌节奏追求是对“五四”时期诗歌观的进一步拓展和创造性实践,表现出了新诗形体建构的自觉。
The representative of harmony rhythm theory is mainly the crescentism poets, they think the rhythm reflects a harmonious relationship, that is, a “syllable flow and the organic whole” aesthetic effect. In the construction of rhythm units, they pursue the sense of “isochronism” and “ratio”, in which Sun Danyu proposed “phonetic” and said Rao Mengkan said “beat” that Wen Yiduo put forward “Music scale ” said. They paid great attention to the rhythm and level organization, paying particular attention to line construction. Sun Danyu made a discussion on the number of syllables in the pitch and the number of steps in the poem line, “And ” line with the “. In the construction of poetic style, most of the crescent males use the method of structure of ”even parity“ to pursue ”unification and coordination " in phonological test. This pursuit of rhythm of poetry is a further expansion and creative practice of the poetry concept during the May 4th Movement and shows the consciousness of the new poetry construction.