1919年之后诗律价值回归的探析  

On the Return of Prosodic Value after 1919

作　　者：李国辉[1] 

机构地区：[1]台州学院人文学院,浙江临海317000

出　　处：《信阳师范学院学报（哲学社会科学版）》2010年第2期124-127,共4页Journal of Xinyang Normal University(Philosophy and Social Sciences Edition)

基　　金：浙江省哲学社会科学规划项目(09HQZZ033)

摘　　要：1919年的"诗体大解放"促使新诗产生,然而不少诗人、诗论家在这一时期突然开始提倡诗律的价值,这表明人们对诗律的认识存在着强烈的反复状况。诗律价值的回归其实一方面源于新诗创作的实际——新诗本身在艺术表现上的贫乏、形式的粗糙,使得不少批评家开始呼唤诗歌的音节效果;另一方面源于批评家对诗律的重新认识——不少批评家认识到诗律是诗歌形式的本体要素,它有助于诗歌情绪的表现。这一时期诗律价值的回归,主要不是声律价值的回归,而是西方音律观念进入中国的前期预备。＂ The Great Liberation in Poetic Form＂ in 1919 produces a new genre, namely, New Poetry, but in this period some poets and critics starts to affirm the value of prosody,which shows a contrary attitude toward prosodic liberation. The return of prosodic value,actually, on the one hand, results from the composing reality of New Poetry -it has more defects and roughs in representation and form, which arouse critics calling prosody; on the other hand, results from a new reflection on prosody -some critics recognize that prosody is the essential element of poetry, and it is in favour of expression of emotion. The return of prosodic value in this stage, however, can not be viewed as to tonal patterns, it is the preparatory arrangement for the notion of meter entering into Chinese poetry and poetics.

关 键 词：诗律价值回归 诗体大解放 音律 

分 类 号：I206.5[文学—中国文学]