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本着为“新诗前途”的担忧,梁实秋对于新诗文体进行了多层次多侧面的探索。在理性节制情感的原则之下,他坚持新诗创作要把意绪注入一个美的模型,强调诗的形式之于新诗不可或缺,但是更为强调“诗的内容”之于新诗的决定意义;他将诗歌与散文、音乐、绘画进行区分,试图找出诗之为诗的文体属性;他通过新旧之辨,显现新诗的“新”意;也通过中外之辨,彰显民族特色。这些探索显示出一位新诗文体家为新诗立法的自觉使命感,对中国新诗的理论与实践无疑都具有十分重要的意义。
In line with the concern for the future of new poetry, Liang Shiqiu conducted a multi-level and multi-lateral exploration of the style of new poetry. Under the principle of rational control of emotions, he insisted that the creation of new poetry should inject the emotions into a beautiful model, emphasizing the indispensability of the form of poetry to the new poetry, but emphasizing the significance of “the content of poetry” to the new poetry He distinguishes poetry from prose, music and painting. He tries to find out the poetic attribute of poetry as a poem. Through the distinction between old and new, he reveals the “new” meaning of the new poem. He also reveals the national characteristics by distinguishing between China and other countries. These explorations show the sense of mission of a new poet body for the legislation of new poetry and undoubtedly have great significance to the theory and practice of Chinese new poetry.