钟摆:新诗艺术之发展轨迹  

Pendulum: the Developing Trace of New Verse

作　　者：章亚昕[1] 

机构地区：[1]山东大学文学与新闻传播学院,山东济南250100

出　　处：《文史哲》2005年第2期79-84,共6页Literature,History,and Philosophy

基　　金：山东省社科规划重点项目"中国新诗史论"(项目编号:04BYJ08)的阶段性成果。

摘　　要：回顾新诗艺术的发展轨迹,会看到十分明显的“钟摆”形态。这种反复摆动的发展轨迹,从“外形式”角度看,新诗是从格律体到自由体,再从朗诵诗到新民歌;从“内形式”角度看,新诗是从白话诗到象征诗,再从意象化到形象化;而从内容角度看,新诗则从抒情小诗到现代史诗,再从讽刺诗到哲理诗。“钟摆”的形态,意味着新诗处于文体的草创阶段。由于草创期没有确定的文体规范,诗人就在诗感、诗观与诗运三个层面进行探索,寻找最佳的艺术表现样式。Reviewing the developing trace of new verse, we can see that it is very like a “pendulum” shape. This repeatedly swaying developing trace of new verse, seen from the “external pattern”, is the change from formalized style (Ge Lv) to free style and then from recite poems to new folk song; seen from “internal pattern”, it is the change from free vernacular verse to symbol verse, and then from imagery verse to featuring verse; it is also a change from expressional verse to modern epics and from satire verse to philosophic verse if it is seen from the contents. The “pendulum” shape means that new verse is in an initial stage. As in the initial stage,there is no specific literary form, poets probe in three levels of poetry sense, poetry view and poetry rhyme, so as to seek the best artistic expressional pattern.

关 键 词：新诗 钟摆 诗感 诗观 诗运 

分 类 号：I207.25[文学—中国文学]