论晚清现代汉语诗歌音乐性之滥觞  

Modern Chinese Poetry in the Late Qing Dynasty and the Beginning of Musicality in Poetry

作　　者：曹万生[1] 尹海燕[2] 

机构地区：[1]四川师范大学文学院,四川成都610066 [2]首都医科大学附属中学,北京100069

出　　处：《湘潭大学学报（哲学社会科学版）》2009年第4期119-125,130,共8页Journal of Xiangtan University:Philosophy And Social Sciences

基　　金：国家社会科学基金"中国现代诗歌流变史"(04XZW007)的阶段性成果

摘　　要：晚清以"诗界革命"为肇始的诗歌改革冲击了中国古典诗歌的言说符号和形式,自此现代汉语诗歌音乐性的滥觞期开始。现代汉语诗歌的音乐性理论首先松动了古典诗歌言说机制:主张以"言文一致"为出发点的诗歌革新,"新语句"与"旧风格"的冲突与调合。其次体现为"饮冰室诗话"时期对现代诗歌音乐性理论的各种探索:包括对"旧风格"的坚持,诗歌的音乐性与启蒙主义的调合,对诗歌简谱化、谱曲式尝试。最后体现为"杂歌谣"的尝试:一是"新粤讴",这是方言与音乐性的尝试;二是"歌体诗"音乐性实践,它已经实现了现代汉语诗歌的音乐性尝试;并已经产生了达到胡适"八事"要求的早于"胡适体"十五年的早期的白话诗,是现代汉语诗歌的雏形。The poetic reform which began with the Poetic Revolution in late Qing Dynasty impacted of symbols and form of classical Chinese poetry, and so the musicality of modem Chinese poetry was initiated. Musicality theory of Modem Chinese poetry firstly loos- ened statement mechanism of classical poetry ： innovation advocating ＂ Speaking Matching Writing＂, conflict and blending between ＂ New Sentence＂ and ＂Old Style＂. Secondly, the reform embodied as all kinds of exploitation on musicality theories in the period of ＂ Comments on Poetry in the Yinbingshi＂ including： adhering to ＂Old Style＂, blending poetry musicality with Enlightenment, attempting on the numbered musical notation and music - style of poetry and music - style. Thirdly, the reform embodied as ＂the new folk song of Guangdong＂ which is an attempt of dialect and music, an ＂Song Poems＂ musical practice, which had achieved the musicality in modem Chinese poetry, and had produced early vernacular poetries earlier than Hu Shi＇s Style poetry fifteen years and met Hu＇s ＂eight requirements＂, which were the embryonic form of modern Chinese poetry.

关 键 词：现代汉语诗歌 音乐性 诗界革命 晚清 

分 类 号：I207.2[文学—中国文学]