论文部分内容阅读
学术的生命在于百家争鸣。要解决新诗形式的理论问题,只有一个办法:展开讨论。吕进先生说:“有如散文的基础是内容,诗的基础是形式。”[1]没有诗的形式,也就没有了诗人与读者沟通的桥梁。新诗多数不受欢迎,主要是因为它们还不成形。因此,如何认识新诗的形式问题便成了发展新诗的矛盾焦点。丁鲁认为,片面发展自由诗的中国新诗,正处于迷茫的困境之中。其根源主要在于“内容决定形式”的机械论没有得到应有的批判。因此,当前新诗一切问题的突破口,就在于加强格律诗的理论研究与实践,除此以外别无其他出路。黄淮、周仲器认为,格律诗中的“自律体”与“共律体”具有不同的艺术特征,前者是“一诗一律”,后者是“千篇一律”。“自律体”与“共律体”的矛盾运动是中国格律诗发展的内在动力。当下新格律诗的“自律体”与“共律体”的继续创新并互动演变,必将迎来中国诗歌形式的第三次伟大变革,实现中国诗歌的真正复兴。万龙生认为,戴望舒对于诗中的音乐性曾经有过偏颇、极端的认识,而且在自己的创作中予以贯彻;但是,他后来对那种意见作了修正,并且在创作中实现了向音韵的回归。这一过程,证明了音韵的魅力以及音韵对于诗的重要意义。
Academic life is to contend for a hundred schools of thought. There is only one way to solve the theoretical problems in the form of new poetry: to start a discussion. Mr. Lu Jin said: “Just as the foundation of prose is content, the foundation of poetry is form.” [1] Without the form of poetry, there is no bridge between the poet and the reader. Most of the new poems are unpopular, mainly because they are not yet shaped. Therefore, how to recognize the form of new poetry becomes the focus of contradictions in developing new poetry. Ding Lu believes that one-sided development of Chinese poetry on free verse is in a dilemma. The root cause lies in the fact that the mechanistic theory of “form of content determination” has not been properly criticized. Therefore, the breakthrough point of all the current new poems lies in strengthening the theoretical research and practice of metrical poetry, and there is no other way out. Huanghuai and Zhou Zhongshi believed that the “self-discipline” and “common-law” in the metrical poems have different artistic characteristics. The former is “one verse” and the latter is “one style.” The contradictory movement of “self-discipline” and “common-law” is the intrinsic motivation for the development of Chinese metrical poetry. The continuous innovation and interactive evolution of the current “self-discipline” and “common law” of the new metrical verse will surely usher in the great third revolution of Chinese poetry and realize the true rejuvenation of Chinese poetry. Wan Longsheng held that Dai Wangshu used to have biased and extreme understanding of the musicality of the poem and carried it out in his own works. However, he later amended that opinion and realized the phonological Return. This process proves the charm of phonology and the significance of phonology for poetry.