魏尔伦诗歌中的音乐象征  

The Symbolism of Music in Verlaine's Poetry

作　　者：高佳华 潘虹 Gao Jiahua;Pan Hong

机构地区：[1]山东理工大学文学与新闻传播学院

出　　处：《山东理工大学学报（社会科学版）》2022年第1期58-65,共8页Journal of Shandong University of Technology（Social Sciences Edition）

基　　金：山东理工大学社科青年博士启动经费资助项目“保罗·魏尔伦诗学研究”(721014)。

摘　　要：魏尔伦提出“音乐先于一切”的诗学理论,重视音乐性在诗歌创作中的地位。他用语言模仿乐音,以独特的声响打通人的感官,实现感觉挪移,以求达成波德莱尔的“横向应和”。诗人借助“再现”的音乐表现手法,使诗意如音乐回环往复,从而推动语言的所指多层次地向纵深扩展,最终达到表层和深层的“纵向应和”。“复调”作曲技巧的运用,既构建了立体有形的外部世界,又表达了无形无边的人类情感,实现了“横向应和”与“纵向应和”的结合,诗义直达无限。魏尔伦的诗歌通过有形与无形之间无限的展示空间,较为全面地表现世界和人性的本质。由此,魏尔伦以音乐语言继承和发展了波德莱尔的“应和”理论,丰富了象征主义诗歌的创作手法,奠定了自己象征派代表诗人的地位。Paul Verlaine's poetic theory of"music precedes everything"emphasises the importance of music in the creation of poetry.He imitates musical sounds with language and uses unique sounds to open up people's senses to achieve sensory displacement in order to achieve the"horizontal correspondences"put forward by Baudelaire.With the help of the musical expression technique of"repetition",Verlaine makes the poetic meaning repeat like music,thereby promoting the multi-layered extension of the linguistic reference to the depth,and ultimately achieving a"vertical correspondences"between the surface and the deep levels.The use of the"polyphony"compositional technique not only builds a three-dimensional and tangible external world,but also expresses the intangible and boundless human emotions,achieving a combination of"horizontal correspondences"and"vertical correspondences".In this way,the poetic meaning reaches to infinity.Through the infinite space between the tangible and the intangible,his poetry expresses the nature of the world and human in a more comprehensive way.As a result,Verlaine inherits and develops Baudelaire's theory of the"correspondences"in the language of music,enriches the symbolist approach to poetry,and establishes himself as the representative poet of the symbolists.

关 键 词：魏尔伦 音乐性 应和 象征 

分 类 号：I565[文学—其他各国文学]