机遇和挑战:关于新诗百年文化境遇与命运的思考
|
摘要
如果从1917年胡适发表《文学改良刍议》算起,新诗已经走完百年岁月。但是就今日新诗状态来说,不论是从其在人们日常生活中的影响、还是就对于其创作实绩的评说来说,似乎多有不尽人意之处,甚至引起人们对于新诗未来的怀疑。无疑,作为传统艺术精神的表达和积累,诗歌凝聚和传承了中国传统的审美意识和艺术精神,其发展、变化和创新,不仅持续不断为地为文学创作和理论提供借鉴、资源和活力,也是中国艺术精神变迁和更新的历史写照,反映了在不同语境和环境中艺术思维的不同价值取向及其特征。而新诗在20世纪的产生,既表现了中国文学发展进程中诗歌史上的一次突变和转捩点,又突显了社会巨变和意识形态对于文学的影响,使新诗成为一个独特的文学"早产儿",带着鲜明的时代锋芒和特征,不得不经历漫长的生活考验和文化洗礼,在不断纠错和通融创新中才能赢得自己的未来性。
"Modern Poetry"has been around for a century since the publication of On Literary Improvement written by Hu Shi in1917. However,the situation of today's poetry seems less satisfactory considering its influence on people's everyday life or the performance of its creation,which would even raise doubt on modern poetry 's future. Undoubtedly,as an expression and accumulation of traditional artistic spirit, poetry functions as cohesion and inheritance of traditional Chinese aesthetic consciousness and artistic spirit. The development,change and innovation of poetry not only provide reference,resources and vitality for literary creation and theory constantly,but also function as a historical portrayal of the change and renewal of Chinese artistic spirit which reflect the different values of artistic thinking in different contexts and environments. Nevertheless,the emergence of modern poems in the 20th century presents a sudden change and a turning point in the history of Chinese poetry while highlighting the influence of literature on social changes at the same time. modern poetry is a "premature child"with distinctive features of the times. It has to experience a long test and baptism in order to have its future through continuous error correction,reconciliation and innovation.
"Modern Poetry"has been around for a century since the publication of On Literary Improvement written by Hu Shi in1917. However,the situation of today's poetry seems less satisfactory considering its influence on people's everyday life or the performance of its creation,which would even raise doubt on modern poetry 's future. Undoubtedly,as an expression and accumulation of traditional artistic spirit, poetry functions as cohesion and inheritance of traditional Chinese aesthetic consciousness and artistic spirit. The development,change and innovation of poetry not only provide reference,resources and vitality for literary creation and theory constantly,but also function as a historical portrayal of the change and renewal of Chinese artistic spirit which reflect the different values of artistic thinking in different contexts and environments. Nevertheless,the emergence of modern poems in the 20th century presents a sudden change and a turning point in the history of Chinese poetry while highlighting the influence of literature on social changes at the same time. modern poetry is a "premature child"with distinctive features of the times. It has to experience a long test and baptism in order to have its future through continuous error correction,reconciliation and innovation.
引文
康有为:“《诗集》导言”,《中国新文学大系续编导言集》。香港:香港文学研究社出版部,1968年。[Kang,Youwei.“Introduction to Collection of Poetry.”An Introduction to the Continuation of Chinese New Literature Series.Hong Kong:Hong Kong Literature Research Institute Publishing House,1968.]
陈丽军:“‘诗生活’:新媒体时代诗歌大众化的一种描述”,《广西民族师范学院学报》6(2014):100-103。[Chen,Lijun.“Poetic Life:A Description of the Popularization of Poetry in the New Media Age.”Journal of Guangxi Normal University for Nationalities.6(2014):100-103]
冯乃超:“诗人们---送给时代的诗人”,《冯乃超文集》。广州:中山大学出版社,1986年。[Feng,Naichao.“Poets:Dedicated to Poets of the Times.”Feng Naichao Collections.Guangzhou:Sun Yat-sen University Publishing House,1986.]
郭沫若:“文艺之社会的使命---在上海大学讲”,《郭沫若全集》第十五卷。北京:人民文学出版社,1990年。[Guo,Moruo.“The Social Mission of Literature and Art:Speech at Shanghai University,”Guo Moruo Collections.Vol.15 Beijing:People’s Literature Publishing House,1990.]
----:“宇宙革命底狂歌”,《革命哲学》。上海:上海泰东图书局,1921年。[---.Guo,Moruo.“The Song of the Cosmic Revolution.”Revolutionary Philosophy.Shanghai:Shanghai Taidong Publishing House,1921.]
梁启超:“论小说与群治之关系”,《梁启超全集》。北京:北京出版社,1999年。[Liang,Qichao.“On the Relationship between Novels and Masses.”Liang Qichao Collections.Beijing:Beijing Publishing House,1999.]
----:“夏威夷游记”,《梁启超全集》。北京:北京出版社,1999年。[---.“Hawaii Travels.”Liang Qichao Collections.Beijing:Beijing Publishing House,1999.]
鲁迅:“《出了象牙之塔》后记”,《鲁迅全集·第10卷》。北京:人民文学出版社,2005年。[Lu,Xun.“Postscript to Out of the Ivory Tower.”Lu Xun Collections.Vol.10.Beijing:People’s Literature Publishing House,2005.]
----:《鲁迅全集》。北京:人民文学出版社,2005年。[---.Lu Xun Collections.Beijing:People’s Literature Publishing House,2005.]
王韬:“变法”。360doc。2013年7月9日。2017年9月7日[Wang,Tao.“Reform Movement.”360doc.9 Jul.2013.7Sep.2017.]
王哲甫:《中国新文学运动史》。北平:杰成印书局,1933年。[Wang,Zhefu.The History of Chinese New Literature Movement.Peking:Jiecheng Publishing House,1933.]
闻一多:《闻一多全集·2》。武汉:湖北人民出版社,1993年。[Wen,Yiduo.Wen Yiduo Collection.Vol.2.Wuhan:Hubei People’s Publishing House,1993.]
翟月琴:“从城市诗看破碎无序的辞章---1980年代以来汉语新诗声音与抒情结构的断想”,《广西民族师范学院学报》,6(2014):94-99。[Zhai,Yueqin.“The Broken Chaotic Cantos from the Perspective of City Poems:New Chinese Poetry’s Sound and Lyrical Structure since the 1980s.”Journal of Guangxi Normal University for Nationalities.6(2014):94-99.]
(1)梁启超对于黄遵宪所作《军歌》等作品给予高度评价,认为其精神雄壮活泼,沉浑深远,誉为“诗界革命之能事至斯而极”,盛赞黄遵宪为“文界革命之骁将”,视“新派诗”创作为“中国文艺复兴之先河”。
(2)可参见拙作《20世纪中西文艺理论交流史论》(上海:华东师范大学出版社,1999年出版)第51页。
陈丽军:“‘诗生活’:新媒体时代诗歌大众化的一种描述”,《广西民族师范学院学报》6(2014):100-103。[Chen,Lijun.“Poetic Life:A Description of the Popularization of Poetry in the New Media Age.”Journal of Guangxi Normal University for Nationalities.6(2014):100-103]
冯乃超:“诗人们---送给时代的诗人”,《冯乃超文集》。广州:中山大学出版社,1986年。[Feng,Naichao.“Poets:Dedicated to Poets of the Times.”Feng Naichao Collections.Guangzhou:Sun Yat-sen University Publishing House,1986.]
郭沫若:“文艺之社会的使命---在上海大学讲”,《郭沫若全集》第十五卷。北京:人民文学出版社,1990年。[Guo,Moruo.“The Social Mission of Literature and Art:Speech at Shanghai University,”Guo Moruo Collections.Vol.15 Beijing:People’s Literature Publishing House,1990.]
----:“宇宙革命底狂歌”,《革命哲学》。上海:上海泰东图书局,1921年。[---.Guo,Moruo.“The Song of the Cosmic Revolution.”Revolutionary Philosophy.Shanghai:Shanghai Taidong Publishing House,1921.]
梁启超:“论小说与群治之关系”,《梁启超全集》。北京:北京出版社,1999年。[Liang,Qichao.“On the Relationship between Novels and Masses.”Liang Qichao Collections.Beijing:Beijing Publishing House,1999.]
----:“夏威夷游记”,《梁启超全集》。北京:北京出版社,1999年。[---.“Hawaii Travels.”Liang Qichao Collections.Beijing:Beijing Publishing House,1999.]
鲁迅:“《出了象牙之塔》后记”,《鲁迅全集·第10卷》。北京:人民文学出版社,2005年。[Lu,Xun.“Postscript to Out of the Ivory Tower.”Lu Xun Collections.Vol.10.Beijing:People’s Literature Publishing House,2005.]
----:《鲁迅全集》。北京:人民文学出版社,2005年。[---.Lu Xun Collections.Beijing:People’s Literature Publishing House,2005.]
王韬:“变法”。360doc。2013年7月9日。2017年9月7日
王哲甫:《中国新文学运动史》。北平:杰成印书局,1933年。[Wang,Zhefu.The History of Chinese New Literature Movement.Peking:Jiecheng Publishing House,1933.]
闻一多:《闻一多全集·2》。武汉:湖北人民出版社,1993年。[Wen,Yiduo.Wen Yiduo Collection.Vol.2.Wuhan:Hubei People’s Publishing House,1993.]
翟月琴:“从城市诗看破碎无序的辞章---1980年代以来汉语新诗声音与抒情结构的断想”,《广西民族师范学院学报》,6(2014):94-99。[Zhai,Yueqin.“The Broken Chaotic Cantos from the Perspective of City Poems:New Chinese Poetry’s Sound and Lyrical Structure since the 1980s.”Journal of Guangxi Normal University for Nationalities.6(2014):94-99.]
(1)梁启超对于黄遵宪所作《军歌》等作品给予高度评价,认为其精神雄壮活泼,沉浑深远,誉为“诗界革命之能事至斯而极”,盛赞黄遵宪为“文界革命之骁将”,视“新派诗”创作为“中国文艺复兴之先河”。
(2)可参见拙作《20世纪中西文艺理论交流史论》(上海:华东师范大学出版社,1999年出版)第51页。