摘要
自由诗是中国新诗的主要体式 ,中国新诗的研究和批评经常使用自由诗这个诗体概念 ,却未加以历史和理论的检讨。本文从中国早期自由诗理论的反思出发 ,联系新诗接受自由诗的过程 ,认为中国新诗在语言与形式“求解放”的进程中 ,精神与内容的考虑显然优先于美学的考虑 ,存在着把自由诗浪漫化和简单化的现象。自由诗有存在的合理性 ,但它仍应遵循诗歌运用语言的基本规律 ,不宜将自由诗看成新诗的至尊形式 ,以至于代替其它形式的探索。必须打破“新诗应该是自由诗”的绝对观念 ,形成格律诗和自由诗并存、对话与互动的诗歌生态 ,以便在诗歌内部形成竞争机制和参照体系 ,获得自我反思和自我调节的能力。
Free verse,” the major form of China's New Poetry, is frequently used in studies and critiques without a careful definition from the perspective of theory and its evolution. Reviewing early theories of free verse and the introduction of free verse in Chinese New Poetry, I find an apparent favouring of the thematic over the aesthetic when Chinese writers of the New Poetry seek linguistic and formal “liberation.” Free verse was romanticized and over-simplified. While it has its own raison d'être, it still needs to follow rules of poetic language. Free verse need not be made the “highest” form of poetry at the expense of other forms. Nor should we take it as the only form of New Poetry. Metrical and free verse should co-exist, with dialogue and interaction between them, to set up competition mechanism and reference framework for introspection and self-adjustment in poetry.
出处
《中国社会科学》
CSSCI
北大核心
2004年第4期161-172,共12页
Social Sciences in China
