基于心理学假说的“内在韵律”理论与郭沫若的创作实践  

Theory of"Intrinsic Rhythm"Based on Psychological Hypothesis and Guo Moruo'sWriting Practice

作　　者：张入云 ZHANG Ruyun

机构地区：[1]上海视觉艺术学院,上海201620

出　　处：《上海视觉》2024年第4期80-87,共8页Shanghai Vision

摘　　要：新诗早期代表性诗人郭沫若,以实验心理学家冯特关于节奏感的假说为基础,于1921年提出的“内在韵律”理论,为人们重新认识诗的音乐性问题,提供了一个饶有意味的新视角。然而他本人的实际创作状况和自己提出的理念之间却存在着相当程度的落差与歧异,他理想中诗歌内在韵律与外在韵律的完美契合,并未在他本人的创作中得到充分的实现—个别反复推敲精心营构的佳作除外。但郭沫若为建构新诗音乐性理论所作的尝试与努力并非徒劳,他的“内在韵律”或曰广义音乐性理论,在很大程度上启发了其后的许多相关探索;他的这一理论主张,对其后不止一代诗人的写作,亦已产生了不可估量的影响。The theory of"intrinsic rhythm"presented by the representative Chinese poet.Guo Moruo in 1921,which was based on the hypothesis about rhythm by the experimental psychologist Wilhelm Wundt,provided a meaningful new viewpoint for people to reconsider the issue of musicality in poetry.But there was such a divergence between Guo Moruo's the-ory and his own writing practice that the ideal harmony of intrinsic and extrinsic rhythm was just a vision in his poem writing.However,we should still recognize that Guo's theory has not only inspired lots of relevant explorations afterwards but also influenced generations of poets in their writing.

关 键 词：郭沫若 威廉·冯特 内在韵律 广义音乐性 创作实践 

分 类 号：I20[文学—中国文学]