“意义之音”的来龙去脉及功能价值研究——弗罗斯特诗歌创作理论“意义之音”解读
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摘要
针对美国诗人弗罗斯特提出的诗歌创作理论——意义之音,本文运用文献考据法,历时梳理其出现语境,有述有评,指出该理论功能和价值在于打破规则重音,凸显节奏,刻画人物性格;其内涵不仅仅在于音义对应,也包含了话者说话的语气和情绪,还包括了基于说者与听者共同的语言背景,听者对于说者的主观经验认知。它是一个复义性概念,是现代诗的基本节奏特点。厘清"意义之音"的来龙去脉,对于正确理解弗诗本身及其他诗歌创作手法有着积极意义,同时对汉语诗歌创作也有着积极的现实意义。
As for the Sound of Sense, the poem-writing theory,put forward by Robert Frost, this paper elaborates its function,value and connotation by reference of various literatures diachronically combining with the comments subsequently. Its function and value aim to break the regular stress so as to foreground the rhythm and characters of figures in the poem. While its connotation implies not only the correspondence between the sound and sense but also the tone and emotion of the speaker and the audience's subjectively experience cognition based on a common linguistic repertoire with the speaker. It is found that it is an ambiguous term as well as the basic rhythmic feature of modern poetry. Clarification of this term has a profound significance on comprehending Frost's poetry and its writing skills as well as the writing of Chinese modem poem.
As for the Sound of Sense, the poem-writing theory,put forward by Robert Frost, this paper elaborates its function,value and connotation by reference of various literatures diachronically combining with the comments subsequently. Its function and value aim to break the regular stress so as to foreground the rhythm and characters of figures in the poem. While its connotation implies not only the correspondence between the sound and sense but also the tone and emotion of the speaker and the audience's subjectively experience cognition based on a common linguistic repertoire with the speaker. It is found that it is an ambiguous term as well as the basic rhythmic feature of modern poetry. Clarification of this term has a profound significance on comprehending Frost's poetry and its writing skills as well as the writing of Chinese modem poem.
引文
[1] Barker, A. 1984. Greek musical writings. Cambridge readings in the literature of music[M]. Cambridge:Cambridge University Press.
[2] Lathem, E. 1966. Interviews with Robert Frost[M]. New York:Holt.
[3] Newdick, S. 1937. Robert Frost and the Sound of Sense[J].American Literature(9):289-300.
[4] Polotti, P.&D. Rocchesso. 2008. Sound to Sense, Sense to Sound:A State of the Art in Sound and Music Computing[M].Comeniushof:Logos Verlag Berlin GmbH.
[6] Potter, L. 1982. Robert Frost Handbook[M]. College Park:The Pennsylvania State University Press.
[7] Ven, T. 1973. Robert Frost's Dramatic Principle of“Oversound”[J]. American Literature.(2):249-250.
[8] Pound, E. 1954. How to read[A]. In T.S. Eliot(ed.). Literary Essays of Ezra Pound(pp. 14-15). London:Faber and Faber.转引自Susan Bassnett&Andre Lefevere(eds.). Constructing Culture:Essays on Literary Translation[C]. Shanghai:Shanghai Foreign Language Education Press, 2001:64.
[10] Sound and Sense的中文翻译[OL].http://zhidao.baidu.com/question/38500248.html, accessed 20/10/2015.
[11] Frost as a critical theorist[OL].http://www.frostfriends.org/FFL/Frost%20on%20writing%20-%20Barry/barryessay2.pdf.原文是:For him sound was the great artistic catalyst,and its function was mysteriously epistemological[OL],accessed 20/10/2015.
[12]曹明伦.1999.爱伦·坡精品集[M].合肥:安徽文艺出版社.
[13]弗罗斯特.2002.曹明伦译.弗罗斯特集:诗全集、散文和戏剧作品[M].沈阳:辽宁人民出版社.
[14]韩丹.2008.“意义之音”:论弗罗斯特的诗歌艺术实践与创新[J].世界文学评论,(2):146-148.
[15]焦鹏帅.2011.持久平稳、雅俗共赏——赵毅衡教授关于弗罗斯特诗歌及其翻译访谈录[J].东方翻译,(6):64-68.
[16]劳·坡林.1985.殷宝书编译.怎样欣赏英美诗歌[M].北京:北京大学出版社.
[17]刘瑞英.2010.弗罗斯特“意义之音”的理论探讨[J].河南师范大学学报,(4):223-226.
[18]西渡.2009.灵魂的未来[M].郑州:河南大学出版社.
[19]欧凡.2010.柏林苍穹下:一位数学家的文化随想[M].北京:中央编译出版社.
(1)其实这一理论并非弗氏独创,而是英语文学的一个传统,他的贡献在于将其强化,形成了一种现代诗歌理论与实践。参见Potter L James.Robert Frost Handbook[M]. The Pennsylvania State University Press, University Park and London,1982:156原文是:(Sound of sense), this was not original with him, but his emphasis on it was a significant contribution to modem poetic theory and practice.
(1)该译文参见http://zhidao.baidu.com/question/38500248.html,笔者略作改动。请读者仔细体会第5、6、7、8、9、10、11、12行音义结合的阅读效果:由元辅音的不同性质与节奏之快慢而反映出的溪水潺潺,波涛汹涌,动作吃力,飞行轻快之义。
(1)阿尔杰农·查尔斯·史文朋(Algernon Charles Swinburne, 1837-1909),英国维多利亚时期的一位著名诗人。因其诗歌用词华丽,字斟字酌,只为韵式,而不是为意义而倍受诗界诟病。
(1)爱伦·坡曾在《诗歌原理》(曹明伦译)一文中说:“我历来都确信以下事实:在节拍、节奏和韵律形式上都富于变化的音乐对诗歌来说非常重要,所以绝不可骄横地把它摈弃;音乐是诗歌至关紧要的助手,只有白痴才会拒绝它的帮助。鉴于此,我现在仍然坚持它确切无疑的重要性。也许正是由于音乐,心灵被诗情启迪时才会最大限度地接近那个它努力要实现的伟大目标—创造超凡之美。”(参见:曹明伦.爱伦·坡精品集[Z].合肥:安徽文艺出版社,1999:684)我们可以看出,他所强调的音乐是为诗歌的“美”服务的。而弗罗斯特所说的音调、声调是为意义服务的。
(2)Frost as a critical theorist[OL].http://www.frostfriends.org/FFL/Frost%20on%20writing%20-%20Barry/barryessay2.pdf.原文是:For him sound was the great artistic catalyst, and its function was mysteriously epistemological.
[2] Lathem, E. 1966. Interviews with Robert Frost[M]. New York:Holt.
[3] Newdick, S. 1937. Robert Frost and the Sound of Sense[J].American Literature(9):289-300.
[4] Polotti, P.&D. Rocchesso. 2008. Sound to Sense, Sense to Sound:A State of the Art in Sound and Music Computing[M].Comeniushof:Logos Verlag Berlin GmbH.
[6] Potter, L. 1982. Robert Frost Handbook[M]. College Park:The Pennsylvania State University Press.
[7] Ven, T. 1973. Robert Frost's Dramatic Principle of“Oversound”[J]. American Literature.(2):249-250.
[8] Pound, E. 1954. How to read[A]. In T.S. Eliot(ed.). Literary Essays of Ezra Pound(pp. 14-15). London:Faber and Faber.转引自Susan Bassnett&Andre Lefevere(eds.). Constructing Culture:Essays on Literary Translation[C]. Shanghai:Shanghai Foreign Language Education Press, 2001:64.
[10] Sound and Sense的中文翻译[OL].http://zhidao.baidu.com/question/38500248.html, accessed 20/10/2015.
[11] Frost as a critical theorist[OL].http://www.frostfriends.org/FFL/Frost%20on%20writing%20-%20Barry/barryessay2.pdf.原文是:For him sound was the great artistic catalyst,and its function was mysteriously epistemological[OL],accessed 20/10/2015.
[12]曹明伦.1999.爱伦·坡精品集[M].合肥:安徽文艺出版社.
[13]弗罗斯特.2002.曹明伦译.弗罗斯特集:诗全集、散文和戏剧作品[M].沈阳:辽宁人民出版社.
[14]韩丹.2008.“意义之音”:论弗罗斯特的诗歌艺术实践与创新[J].世界文学评论,(2):146-148.
[15]焦鹏帅.2011.持久平稳、雅俗共赏——赵毅衡教授关于弗罗斯特诗歌及其翻译访谈录[J].东方翻译,(6):64-68.
[16]劳·坡林.1985.殷宝书编译.怎样欣赏英美诗歌[M].北京:北京大学出版社.
[17]刘瑞英.2010.弗罗斯特“意义之音”的理论探讨[J].河南师范大学学报,(4):223-226.
[18]西渡.2009.灵魂的未来[M].郑州:河南大学出版社.
[19]欧凡.2010.柏林苍穹下:一位数学家的文化随想[M].北京:中央编译出版社.
(1)其实这一理论并非弗氏独创,而是英语文学的一个传统,他的贡献在于将其强化,形成了一种现代诗歌理论与实践。参见Potter L James.Robert Frost Handbook[M]. The Pennsylvania State University Press, University Park and London,1982:156原文是:(Sound of sense), this was not original with him, but his emphasis on it was a significant contribution to modem poetic theory and practice.
(1)该译文参见http://zhidao.baidu.com/question/38500248.html,笔者略作改动。请读者仔细体会第5、6、7、8、9、10、11、12行音义结合的阅读效果:由元辅音的不同性质与节奏之快慢而反映出的溪水潺潺,波涛汹涌,动作吃力,飞行轻快之义。
(1)阿尔杰农·查尔斯·史文朋(Algernon Charles Swinburne, 1837-1909),英国维多利亚时期的一位著名诗人。因其诗歌用词华丽,字斟字酌,只为韵式,而不是为意义而倍受诗界诟病。
(1)爱伦·坡曾在《诗歌原理》(曹明伦译)一文中说:“我历来都确信以下事实:在节拍、节奏和韵律形式上都富于变化的音乐对诗歌来说非常重要,所以绝不可骄横地把它摈弃;音乐是诗歌至关紧要的助手,只有白痴才会拒绝它的帮助。鉴于此,我现在仍然坚持它确切无疑的重要性。也许正是由于音乐,心灵被诗情启迪时才会最大限度地接近那个它努力要实现的伟大目标—创造超凡之美。”(参见:曹明伦.爱伦·坡精品集[Z].合肥:安徽文艺出版社,1999:684)我们可以看出,他所强调的音乐是为诗歌的“美”服务的。而弗罗斯特所说的音调、声调是为意义服务的。
(2)Frost as a critical theorist[OL].http://www.frostfriends.org/FFL/Frost%20on%20writing%20-%20Barry/barryessay2.pdf.原文是:For him sound was the great artistic catalyst, and its function was mysteriously epistemological.