情绪的高涨与诗美的失落——郭沫若诗歌创作得失谈  

The Rise of Emotions and the Loss of Poetic Beauty ——An exploration into the successes and failures in Guo Moruo's poetic creation

作　　者：李征宙[1] 

机构地区：[1]浙江丽水师范专科学校,浙江丽水323400

出　　处：《五邑大学学报（社会科学版）》2003年第2期43-46,共4页Journal of Wuyi University(Social Sciences Edition)

摘　　要：以郭沫若为代表的浪漫主义自由体诗歌的出现,一举结束了早期新诗文白参半的稚拙局面。在具体的创作中,郭沫若主张"形式的绝端自由"、"感情绝端的流露",其结果是在获得一种"狂暴的技巧"的同时也失去了诗歌现代性的深层表现的朦胧美。探寻郭沫若诗歌创作的得与失,对当今日益衰微的新诗的发展有着深远的历史意义和现实意义。The appearance of romantic free style poetry represented by Guo Moruo put an end to the immature and clumsy situation of the early new-style poetry's half literary and half vernacular diction. In his own poetic creation, Guo Moruo advocated extreme freedom of form and complete revelation of one's feelings. As a result, he lost the hazy beauty of poetry's modernistic in-depth expression while achieving a violent skill. An exploration of the advantages and disadvantages of Guo Moruo's poetic creation has far-reaching historical and realistic significance for the development of new-style poetry which is on the decline .

关 键 词：郭沫若 诗歌 主情说 得失 

分 类 号：I226.2[文学—中国文学]