| | | | | 关于新诗形式问题的讨论(笔谈) | | | 丁鲁;黄淮;周仲器;万龙生 | | | 学术的生命在于百家争鸣。要解决新诗形式的理论问题,只有一个办法:展开讨论。吕进先生说:“有如散文的基础是内容,诗的基础是形式。”[1]没有诗的形式,也就没有了诗人与读者沟通的桥梁。新诗多数不受欢迎,主要是因为它们还不成形。因此,如何认识新诗的形式问题便成了发展新诗的矛盾焦点。丁鲁认为,片面发展自由诗的中国新诗,正处于迷茫的困境之中。其根源主要在于“内容决定形式”的机械论没有得到应有的批判。因此,当前新诗一切问题的突破口,就在于加强格律诗的理论研究与实践,除此以外别无其他出路。黄淮、周仲器认为,格律诗中的“自律体”与“共律体”具有不同的艺术特征,前者是“一诗一律”,后者是“千篇一律”。“自律体”与“共律体”的矛盾运动是中国格律诗发展的内在动力。当下新格律诗的“自律体”与“共律体”的继续创新并互动演变,必将迎来中国诗歌形式的第三次伟大变革,实现中国诗歌的真正复兴。万龙生认为,戴望舒对于诗中的音乐性曾经有过偏颇、极端的认识,而且在自己的创作中予以贯彻;但是,他后来对那种意见作了修正,并且在创作中实现了向音韵的回归。这一过程,证明了音韵的魅力以及音韵对于诗的重要意义。
【作者单位】：湖南科技大学中文系 湖南湘潭411201(丁鲁);中国现代格律诗学会 广东深圳578057(黄淮);江苏大学杂志社 江苏镇江212003(周仲器);重庆日报社 重庆400010(万龙生)
【关键词】：新诗;困境;根源;出路;形式;格律;自律;共律;变革;废韵;复韵;诗的音乐性
【分类号】：I207.25
【DOI】：cnki:ISSN:1671-6604.0.2006-03-007
【正文快照】：
新诗:困境、根源和出路丁鲁一、困境片面发展自由诗的中国新诗正处于迷茫的困境中,这已经是一个尽人皆知的事实。有很长一段时间,新诗界许多人不同意这种说法,但是现在风向开始转了,他们也有点胳膊拧不过大腿,只好承认或避而不谈了。新诗的情况很特别,许多方面既不同于古典诗歌 | | |  推荐 CAJ下载  PDF下载 | | | CAJViewer7.0阅读器支持所有CNKI文件格式，AdobeReader仅支持PDF格式 | | | | A Discussion of the Form of New Poetry | | | DING Lu1;HUANG Huai2;ZHOUZhong-qi3;WANG Long-sheng4(1.Chinese Department;Hunan University of Science and Technology;Xiangtan 411201;China;2.Association of Modern Chinese Patterned poetry;Shenzhen 578057;China;3.Magazine House;Jiangsu University;Zhenjiang 212003;China;4.Chongqing Daily;Chongqing 400010;China) | | | Academia finds its life among disagreements.So to solve the theoretic problem of the form ofnewpoetry,there is but one way: discussion.Mr.Lu Jin says:"As the base of prose is the content,the baseof poetry is the form." Without the poetic form,there is no communication bridge between the poet and thereader.Most of the new poems are unwelcome mainly because they lack form.Hence,how to approach theform of newpoetry becomes the focal points of contradiction in the development of newpoetry.Ding Lu holdsthat Chinese newpoetry,which has experienced a lopsided development of free verse,is caught between twohorns of dilemma.This is chiefly because the mechanical idea of content deciding form hasn't received its duecriticism.As a result,the breach of all the problems now faced by Chinese new poetry is no other than thestudy and practice of Chinese newpatterned poetry.Huang Huai and Zhou Zhongqi believe that poems with u-nique patterns and those with common patterns have different artistic features.In the former case,each poemhas its unique pattern,while in the latter case,all poems have the same pattern.The contradiction between u-nique pattern and common pattern is the interior dynamo of the developmentof Chinese patterned poetry.Now-adays,the continuous creation and evolution of unique patterns and common patterns of new patterned poetrywill usher in the 3rdrevolution of Chinese poetic formand the real renaissance of Chinese poetry.Wan Longsh-eng thinks that Dai Wangshu once had a lopsided and extreme understanding of poetic musicality and broughthis ideas into his poetic creation,but he revised his early ideas and returned to music in his poetic creation.Such a return shows the charm of rhyme and the significance of rhyme to poetry.
【Keyword】：newpoetry;dilemma;source;way out;form;pattern;unique pattern;common pattern;revolution;relinquishing rhyme;recovering rhyme;poetic musicality |
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