从两首小诗谈阿诺德风范和拉金韵味  

On Arnoldian and Larkinesque Styles as Evidencedin Two Little Poems

作　　者：殷企平[1] 诸桥瑞 YIN Qiping;ZHU Qiaorui(School of International Studies,Hangzhou Normal University,Hangzhou 311121,China;School of International Studies,Zhejiang University,Hangzhou 310058,China)

机构地区：[1]杭州师范大学外国语学院,浙江杭州311121 [2]浙江大学外国语学院,浙江杭州310058

出　　处：《浙江外国语学院学报》2024年第5期89-95,共7页Journal of Zhejiang International Studies University

摘　　要：不少西方学者把菲利普·拉金描述为马修·阿诺德的论敌,可是透过他们看似迥异的诗学风格,我们可以看到二人对相同文化命题的追问。就像当年阿诺德用《多佛海滩》等诗文回应甚嚣尘上的“进步”话语那样,拉金用《床上交谈》等诗文回击“红火日子”论调。在拉金所处的时代,像阿诺德那样直陈式地捍卫文化并提供愿景,已然难以奏效。正因为如此,拉金戴上爵士精神的面具,可谓草蛇灰线,伏脉千里,自然而然地形成了独步一时的拉金韵味。该诗学风格与阿诺德风范看似大相径庭,实则殊途同归。Many Western scholars have described Philip Larkin as Matthew Arnold’s rival,but through their seemingly disparate poetic styles,we can see an inquiry into the same cultural propositions.Just as Arnold had used“Dover Beach”to respond to the prevalent discourse of“progress”,Larkin wrote“Talking in Bed”by way of countering the rhetoric of the“good days”.In Larkin’s time,it is difficult to defend culture and offer visions as straightforwardly as Arnold did.Because of this,Larkin put on the mask of jazz spirit,thus creating his unique Larkinesque style subtly,significantly and spontaneously.Although the Larkinesque style appears vastly different from the Arnoldian style,they ultimately arrive at the same destination through different paths.

关 键 词：阿诺德风范 拉金韵味 《多佛海滩》 《床上交谈》 文化命题 

分 类 号：I106.2[文学—世界文学]