主题的变奏和诗艺的呈现
摘要
北岛是中国当代文学史上一个不应跳过的段落,他在朦胧诗潮的地位不可替代。他作品的独特个性和写作风格,历来引起文学界的争议和评论。北岛国内时期作品基本上已经被肯定,但其国外时期的作品由于东西方的地域阻隔,读者能接触到的他的诗作比较有限,引起的相关评论不是很多。本文以2002年南海出版社出版的《北岛诗歌集》后四辑及其后发表在《今天》杂志上的零散诗作为研究文本,专门探讨北岛80年代末出国以后的作品,从诗歌创作内容(主题)、诗艺特点、缺陷不足三大方面展现北岛这一时期的创作风貌和个人风格。把北岛的国外时期的特殊环境下的精神感受和心灵体验呈现在读者眼前,针对其作品的具体文本深入发掘北岛国外诗歌的诗学原则和审美趣味。
There are three parts in the paper.
The first part mainly discusses the emotional changes of Beidao’s poetry due to the different environments when abroad. He left his motherland for some special reasons, afterward, his life abroad began. The new emotional presentation in his poetry reflects his real“exile”condition. He began his writing from a new course by using his mother tongue. He started to reconsider life and himself, including many real perceptions about agony, happiness and survival. He conveyed the aesthetic abstract and conciseness by means of imagery of“ego”; he pursued the ultimate meaning of life in the art distinction between true and false.
We always summarize experience in racalling, however, poets do it by way of production. He trys to find a new imagism to reflect the past time and space, in many provinces, to create an art effect of poetry, to ask in his heart of hearts with many complex emotions and thoughts. Many domestic writers believes that his production abroad became declining compared with his former ones, some even regarded it as“old-aged writing”. But his production itself is a negation and counterattack against those slack poetry at home which depends on description and graceful tones.
The writing experiences abroad caused Beidao to think the relationship between mother tongue and the poetry language. “Motherland is a local accent”, and the poet is far away from his motherland, which makes him feel frightened because of the separation. He works out an unexpected aesthetic effect of poet’s discourse, by summarizing his experience, taking action and using all kinds of rhetorical devices. It also shows the difficulties of the existence of poetry language as individual discourse, provoking people’s doubt about the origin descended from history.
Motherland, nostalgia and home-going are the common theme and imagery of Beidao’s production abroad, which is of great importance for the sake of distance. The attribution of motherland is actually his resistance agaisnt outside of the world, is the origin of human nature.“The sun of mother tongue rising on the sea”makes the poet recall his motherland emotionally. All of his poems can be seen as cold landscape. As far as the persistant poet is concerned, writing is the mission of his life, is the main form of his existence; from the broader sense of social meaning, it also reflects some crises on human’s survival, including the side of making no secret of his failure about writing, that is the resistance and persistence against the fierce pain of his heart.
The second part is about the presentation of his poery art abroad. Beidao’s poetry art is coherent all the time, but the special experiences abroad have brought a new presentation. The increasing of post-modernism abroad shows the consideration and compromise of human contradiction. In his poems, there are games, jokes, irony, laughing at oneself, daily life and random which convey that he has no choice about the world and the human nature. The poet attempts to find a solution by acute observation and consideration in contradiction, but fails, which shows the vanishment of his dream and the loneliness.
During abroad, Beidao conducts limitless spiritual experience, he selects many unique imagery combination to present his complex moods. The identity of exile makes his production awkward, fierce, painful, despaired, lonely , down and out, together with his clear consciouseness, all that are showed in his spiritual world. Taking Grinding Knife and Right Here for instance, his poems are between simple and profound, incomplete and perfect, from which we can see the real trace of his art exploration; in language, he emphasizes interval and jumping, brief and implicit, using pause, jumping ,omitting ,blank space etc. to expand the capacity, in order to produce an association for readers and pursue the conciseness of the form.
The last part analyzes the poetic imperfection. It always leads to the confusion about the comprehension and direction for readers, which may be caused either by the self-closing of modern Chinese, status and the feverish foreign language learning of all the people or by poets’rigid acceptance of artistic devices of western modernist school. All of the fectors influence the current circle of Chinese poets, therefore, the poems have many shortcomings unavoidably at the stage when Chinese is changing, exploring and experimenting.
The poetry is obscure and hard to understand, which becomes an object of public denunciation. Finally, the paper analyzes the separation and barrier between writer and reader from the production itself. The writing of a poem is not only an expression, but also an experience of words. It's hard for readers to find the concrete understanding of the complete implication entailed in the poets’context, therefore, there are tense and misunderstanding between the two sides, also the difficulties of interpretation comes into being. Although it has achievements as well as shortcomings, Beidao’s poetry abroad is the whole landscape of his life writing, which is the pride of Beidao himself and the wealth he left to the circle of Chinese poets, there is much in it that we can make use of.
There are three parts in the paper.
The first part mainly discusses the emotional changes of Beidao’s poetry due to the different environments when abroad. He left his motherland for some special reasons, afterward, his life abroad began. The new emotional presentation in his poetry reflects his real“exile”condition. He began his writing from a new course by using his mother tongue. He started to reconsider life and himself, including many real perceptions about agony, happiness and survival. He conveyed the aesthetic abstract and conciseness by means of imagery of“ego”; he pursued the ultimate meaning of life in the art distinction between true and false.
We always summarize experience in racalling, however, poets do it by way of production. He trys to find a new imagism to reflect the past time and space, in many provinces, to create an art effect of poetry, to ask in his heart of hearts with many complex emotions and thoughts. Many domestic writers believes that his production abroad became declining compared with his former ones, some even regarded it as“old-aged writing”. But his production itself is a negation and counterattack against those slack poetry at home which depends on description and graceful tones.
The writing experiences abroad caused Beidao to think the relationship between mother tongue and the poetry language. “Motherland is a local accent”, and the poet is far away from his motherland, which makes him feel frightened because of the separation. He works out an unexpected aesthetic effect of poet’s discourse, by summarizing his experience, taking action and using all kinds of rhetorical devices. It also shows the difficulties of the existence of poetry language as individual discourse, provoking people’s doubt about the origin descended from history.
Motherland, nostalgia and home-going are the common theme and imagery of Beidao’s production abroad, which is of great importance for the sake of distance. The attribution of motherland is actually his resistance agaisnt outside of the world, is the origin of human nature.“The sun of mother tongue rising on the sea”makes the poet recall his motherland emotionally. All of his poems can be seen as cold landscape. As far as the persistant poet is concerned, writing is the mission of his life, is the main form of his existence; from the broader sense of social meaning, it also reflects some crises on human’s survival, including the side of making no secret of his failure about writing, that is the resistance and persistence against the fierce pain of his heart.
The second part is about the presentation of his poery art abroad. Beidao’s poetry art is coherent all the time, but the special experiences abroad have brought a new presentation. The increasing of post-modernism abroad shows the consideration and compromise of human contradiction. In his poems, there are games, jokes, irony, laughing at oneself, daily life and random which convey that he has no choice about the world and the human nature. The poet attempts to find a solution by acute observation and consideration in contradiction, but fails, which shows the vanishment of his dream and the loneliness.
During abroad, Beidao conducts limitless spiritual experience, he selects many unique imagery combination to present his complex moods. The identity of exile makes his production awkward, fierce, painful, despaired, lonely , down and out, together with his clear consciouseness, all that are showed in his spiritual world. Taking Grinding Knife and Right Here for instance, his poems are between simple and profound, incomplete and perfect, from which we can see the real trace of his art exploration; in language, he emphasizes interval and jumping, brief and implicit, using pause, jumping ,omitting ,blank space etc. to expand the capacity, in order to produce an association for readers and pursue the conciseness of the form.
The last part analyzes the poetic imperfection. It always leads to the confusion about the comprehension and direction for readers, which may be caused either by the self-closing of modern Chinese, status and the feverish foreign language learning of all the people or by poets’rigid acceptance of artistic devices of western modernist school. All of the fectors influence the current circle of Chinese poets, therefore, the poems have many shortcomings unavoidably at the stage when Chinese is changing, exploring and experimenting.
The poetry is obscure and hard to understand, which becomes an object of public denunciation. Finally, the paper analyzes the separation and barrier between writer and reader from the production itself. The writing of a poem is not only an expression, but also an experience of words. It's hard for readers to find the concrete understanding of the complete implication entailed in the poets’context, therefore, there are tense and misunderstanding between the two sides, also the difficulties of interpretation comes into being. Although it has achievements as well as shortcomings, Beidao’s poetry abroad is the whole landscape of his life writing, which is the pride of Beidao himself and the wealth he left to the circle of Chinese poets, there is much in it that we can make use of.
引文
[1]北岛:《失败之书·附录》,汕头大学出版社 2004 年版,第 284 页。
[2]北岛:《失败之书》,汕头大学出版社 2004 年版,第 168 页。
[3]唐晓渡:《热爱自由与平静——北岛答记者问》,中国诗人,2003 年第 2 期。
[4][西]希梅内斯:《悲哀的咏叹调》段若川译 漓江出版社 1997 年出版,第 127 页。
[5]袁于令:《西游记题词》见朱一玄,刘毓忱编 西游记资料汇编,南开大学出版社 2002 年版,第 314 页。
[6]唐晓渡:《热爱自由与平静——北岛答记者问》,中国诗人,2003 年第 2 期。
[7]文楚安译:《金斯伯格诗选》译后记,四川文艺出版社 2000 年版,第 19 页。
[8]北岛:《失败之书》,汕头大学出版社 2004 年版,第 41 页。
[9]北岛:《失败之书》,汕头大学出版社 2004 年版,第 15 页。
[10]北岛:《失败之书》,汕头大学出版社 2004 年版,第 126 页。
[11]唐晓渡:《我一直在写作中寻找方向——北岛访谈录》,诗探索,2003 年第 3-4 期。
[12] [日]村上春树:《海边的卡夫卡》,上海译文出版社 2003 年版,第 214 页。
[13]唐晓渡:《我一直在写作中寻找方向——北岛访谈录》,诗探索,2003 年第 3-4 期。
[14]唐晓渡:《传统像血缘的召唤——北岛访谈录》,诗潮,2004 年第 3 期。
[15]一平:《孤立之境——读北岛的诗》,诗探索,2003 年第 3-4 期。
[16]唐晓渡:《传统像血缘的召唤——北岛访谈录》,诗潮,2004 年第 3 期。
[17]李剑雄:《焦竑评传——中国思想家评传丛书》,南京大学出版社 2002 年版,第 6 页。
[18][法]安德烈·勃勃东:《法国作家论文学》,生活·读书·新知三联书店 1984 年版,第 156 页。
[19]刘小枫:《这一代的怕和爱》,三联书店,1997 年版,第 161、162页。
[20]刘小枫:《这一代的怕和爱》,三联书店,1997 年版,第 161、162页。
[21]北岛:《失败之书》,汕头大学出版社 2004 年版,第 292 页。
[22]《圣经·马太福音》第二十二章。
[23]曹俊峰:《康德美学引论》,天津教育出版社,2001 年版,第 73页。
[24][美]西尔维亚·普拉斯:《爱丽尔》范静哗译 ,1965 年版。
[25][宋]姜夔:《白石道人诗说》,中华书局 1981 年版,第 235 页。
[26]黄霖:《文心雕龙汇评》,上海古籍出版社,2005 年版,127 页。
[27]齐简:《持灯的使者》,香港牛津大学出版社,1995 年版,第 42页。
[28]北岛:《失败之书》,汕头大学出版社 2004 年版,第 83 页。
1.郑 春《试论朦胧诗的寻找主题》,东岳论丛,1997,4
2.罗振亚《迷踪与沉寂》天津社会科学,1999,3
3.周成平《论朦胧诗的历史价值》南通师范学院学报(哲社版)1999,9
4.刘家骥《论新诗潮》河南大学学报(社科版)1991,3
5.李 平《朦胧诗的发展、变异及其文学史的叙述》广播电视大学学报,2003,2
6.徐敬亚《崛起的诗群》当代文艺思潮,1983,1
7.谢 冕《断裂与倾斜:蜕变期的投影》文学评论,1985,5
8.臧克家《关于“朦胧诗”》,河北师院学报。1981,1
9.郑 敏《诗人必须自救》,诗刊,1996,2
10.朱敦原《朦胧诗的歧路走向》,中州学刊,1990,5
11.毕光明《朦胧诗的美学原则》,琼州大学学报,1997,3
12.谢冕等《关于 90 年代诗歌的话题》(笔谈)郑州大学学报,1998,4
13.于 坚《诗与后现代》,文艺争鸣,1993,3
14.王光明《论“朦胧诗”与北岛、多多等人的诗》江汉大学学报,2006,3
15.张 宁《北岛的世界》河南大学学报 1988,2
16.张 闳《北岛,或关于一代人的“成长小说”》,当代作家评论,1998,6
17.苗雨时《当代文学史上一个奇观——论朦胧诗潮》河北大学学报,1989,2
18.罗振亚《定格辉煌——朦胧诗派艺术的“盖棺论定”》蒲峪学刊,1995,2
19.程光炜《第三代诗人论纲》湖北师范学院学报,1989,3
20.李阳春,文中伟《为现代主义正义》理论与创作,2003,3
21.刘 翔《尴尬时代的抒情诗歌》诗探索,2002,1-2
22.唐晓渡《北岛:没有幸福,只有自由和平静》当代作家评论,2004,3
23.唐晓渡《我一直在写作中寻找方向——北岛访谈录》诗探索,2003,3-4
24.洪子诚《北岛早期的诗》海南师范学院学报(社科版),2005,1
25.丁宗皓《人格的界碑,北岛的位置》当代作家评论,1988,4
26.林 化《大争鸣:李泽厚、刘晓波论争及其他》文艺争鸣,1989,1 图书文献:
1.刘登翰,洪子诚《中国当代新诗史》人民文学出版社1993年版
2.北 岛《北岛诗选》广东新世纪出版社,1988 年版
3.唐晓渡《后朦胧诗选萃》北京师范大学出版社,1992 年版
4.洪子诚《中国当代文学史》北京大学出版社,1999 年版
5.唐晓渡《唐晓渡诗学论集》中国社会科学出版社 2001 年版
6.王 干《南方的文体》云南人民出版社,1994 年版
7.程光炜《朦胧诗实验诗艺术论》长江文艺出版社,1990 年版
8.龙泉明《中国新诗流变论》人民文学出版社,1999 年版
9.张德厚《新时期诗歌美学考察》北京大学出版社,1995 年版
10.佘碧平《现代性的意义与局限》上海三联书店,2000 年版
11.廖亦武《沉沦的圣殿》新疆青少年出版社,1999 年版
12.齐 简《飘满红罂粟的路》作家书斋
13.李泽厚《中国现代思想史论》安徽文艺出版社,1999 年版
14.杨 健《文化大革命的地下文学》朝华出版社,1993 年版
15.林 莽《诗探索金库·食指卷》作家出版社,1998 年版
16.陈旭光《快餐馆里的冷风景——诗歌诗论选》北京大学出版社,1994 年版
17.朱大可《十作家批判书》陕西师范大学出版社,2004 年版
18.欧阳江河《站在虚构这边》三联书店,2001 年版
19.朱寨、张炯《当代文学新潮》人民文学出版社,1997 年版
20.谭楚良等《中国现代派文学史论》学林出版社,1997 年版
[2]北岛:《失败之书》,汕头大学出版社 2004 年版,第 168 页。
[3]唐晓渡:《热爱自由与平静——北岛答记者问》,中国诗人,2003 年第 2 期。
[4][西]希梅内斯:《悲哀的咏叹调》段若川译 漓江出版社 1997 年出版,第 127 页。
[5]袁于令:《西游记题词》见朱一玄,刘毓忱编 西游记资料汇编,南开大学出版社 2002 年版,第 314 页。
[6]唐晓渡:《热爱自由与平静——北岛答记者问》,中国诗人,2003 年第 2 期。
[7]文楚安译:《金斯伯格诗选》译后记,四川文艺出版社 2000 年版,第 19 页。
[8]北岛:《失败之书》,汕头大学出版社 2004 年版,第 41 页。
[9]北岛:《失败之书》,汕头大学出版社 2004 年版,第 15 页。
[10]北岛:《失败之书》,汕头大学出版社 2004 年版,第 126 页。
[11]唐晓渡:《我一直在写作中寻找方向——北岛访谈录》,诗探索,2003 年第 3-4 期。
[12] [日]村上春树:《海边的卡夫卡》,上海译文出版社 2003 年版,第 214 页。
[13]唐晓渡:《我一直在写作中寻找方向——北岛访谈录》,诗探索,2003 年第 3-4 期。
[14]唐晓渡:《传统像血缘的召唤——北岛访谈录》,诗潮,2004 年第 3 期。
[15]一平:《孤立之境——读北岛的诗》,诗探索,2003 年第 3-4 期。
[16]唐晓渡:《传统像血缘的召唤——北岛访谈录》,诗潮,2004 年第 3 期。
[17]李剑雄:《焦竑评传——中国思想家评传丛书》,南京大学出版社 2002 年版,第 6 页。
[18][法]安德烈·勃勃东:《法国作家论文学》,生活·读书·新知三联书店 1984 年版,第 156 页。
[19]刘小枫:《这一代的怕和爱》,三联书店,1997 年版,第 161、162页。
[20]刘小枫:《这一代的怕和爱》,三联书店,1997 年版,第 161、162页。
[21]北岛:《失败之书》,汕头大学出版社 2004 年版,第 292 页。
[22]《圣经·马太福音》第二十二章。
[23]曹俊峰:《康德美学引论》,天津教育出版社,2001 年版,第 73页。
[24][美]西尔维亚·普拉斯:《爱丽尔》范静哗译 ,1965 年版。
[25][宋]姜夔:《白石道人诗说》,中华书局 1981 年版,第 235 页。
[26]黄霖:《文心雕龙汇评》,上海古籍出版社,2005 年版,127 页。
[27]齐简:《持灯的使者》,香港牛津大学出版社,1995 年版,第 42页。
[28]北岛:《失败之书》,汕头大学出版社 2004 年版,第 83 页。
1.郑 春《试论朦胧诗的寻找主题》,东岳论丛,1997,4
2.罗振亚《迷踪与沉寂》天津社会科学,1999,3
3.周成平《论朦胧诗的历史价值》南通师范学院学报(哲社版)1999,9
4.刘家骥《论新诗潮》河南大学学报(社科版)1991,3
5.李 平《朦胧诗的发展、变异及其文学史的叙述》广播电视大学学报,2003,2
6.徐敬亚《崛起的诗群》当代文艺思潮,1983,1
7.谢 冕《断裂与倾斜:蜕变期的投影》文学评论,1985,5
8.臧克家《关于“朦胧诗”》,河北师院学报。1981,1
9.郑 敏《诗人必须自救》,诗刊,1996,2
10.朱敦原《朦胧诗的歧路走向》,中州学刊,1990,5
11.毕光明《朦胧诗的美学原则》,琼州大学学报,1997,3
12.谢冕等《关于 90 年代诗歌的话题》(笔谈)郑州大学学报,1998,4
13.于 坚《诗与后现代》,文艺争鸣,1993,3
14.王光明《论“朦胧诗”与北岛、多多等人的诗》江汉大学学报,2006,3
15.张 宁《北岛的世界》河南大学学报 1988,2
16.张 闳《北岛,或关于一代人的“成长小说”》,当代作家评论,1998,6
17.苗雨时《当代文学史上一个奇观——论朦胧诗潮》河北大学学报,1989,2
18.罗振亚《定格辉煌——朦胧诗派艺术的“盖棺论定”》蒲峪学刊,1995,2
19.程光炜《第三代诗人论纲》湖北师范学院学报,1989,3
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