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胡适的“自然的音节”论是新诗诗体变革的重要理论依据,它在节奏层面上给新诗做出了定义,但是,胡适的节奏理论更多地采取新诗与旧诗截然对立的视角,很少去通盘思考“韵律”共同之本质,因此,“自然的音节”论依然留存着很多疑点,比如“自然的音节”究竟与散文和日常语言的节奏有何区别?它是否就是韵律本身?这些认知空白给新诗造成了文体上的合法性危机。若我们重新理解韵律之基础(同一性与重复),并从同一性与差异性的辩证关系来看待新诗韵律的种种结构与现象,就能够认识到胡适的节奏理论的意义与局限,照明其理论中的一些晦暗不明之处(如双声叠韵、“内部的组织”与韵律之关系)。这样,不仅可以对新诗与旧诗的韵律做统一的观照,破除“新诗没有韵律”的疑虑,而且有望为新诗韵律的营造和分析找到有效的思路与原则。
Hu Shi’s “Syllables of Nature” is an important theoretical basis for the transformation of the poem style of new poetry. It defines the new poetry on a rhythmic level. However, Hu Shi’s rhythm theory adopts a more diametrically opposed view of poetry from the old poem, Rarely go to think about the common essence of “rhythm”, therefore, “natural syllables” still retain many doubts, such as “natural syllables” and prose and the rhythm of everyday language What is the difference? Is it the rhyme itself? These cognitive gaps have created a stylistic crisis of legitimacy for new poetry. If we re-understand the basis of rhythm (identity and repetition) and look at the various structures and phenomena of rhythm of new poetry from the dialectical relationship between identity and difference, we can recognize the significance and limitations of rhythm theory of Hu Shi and illuminate its theory Some of the obscure (such as double rhyming, “internal organization ” and rhythm relationship). In this way, we can not only make a unified view of the rhythm of new poetry and old poetry, but also dispel the doubts that “there is no rhyme in new poetry” and find effective ideas and principles for the creation and analysis of the rhythm of new poetry.