摘要
本文的中心议题，是探讨“诗歌”一词使用背后的意义以及与之有关的新诗发展方向，围绕“诗歌”在新诗产生之初至20世纪20年代的被使用来展开。首先列述“诗歌”一词被使用的情况，选择最有代表性的人物，探析使用原因的分歧与共同点。“诗歌”被使用背后的主张是：创作新诗应该即兴而发；以民歌为参考向民歌学习；新诗应入乐歌唱；新诗的即兴而发，可以直陈诗情，获得不同于古典诗歌的新的审美模式；向民歌学习的“民众化”在20世纪20年代没有成功；诗与音乐各有自己的表达方式，诗不必人乐歌唱。最后讨论，新诗音律的实践：胡适倡导“自然的音节”，郭沫若的“内在律”，新月派创新诗格律的努力。
The topic of this paper was discussion about meaning of using of the word ＂poetry＂ , and the development of vernacular poetry, which during when it was born and 1920s. The first part is tolist and review the examples which ＂ poetry＂ to be used in the period of New Literary, exploring the way of the most representative figures using the word and why, and the differences and similarities. It was believed that there were three ways for using the word ＂Poetry＂ ：（1） creating New Poems should be a natural process of improvisational expressing;（2）New Poems should be reference to the folk songs;（3）New Poems should be set to music. The way of improvisational expressing presented poetic feeling directly, which new aesthetic pattern was different from past absolutely. The poetry was sounded more musically. TheVernacular Poems in learning folk songs was finally failure in 1920s. The Vernacular Poems can＇ t be set to music and song. The last part explored the practice to gain the internal musicality of Vernacular poems in the 1920s. The first is the ＂natural syllable＂, which advocated by Hu Shi; then discussed ＂internal rhythm＂, advocated by Guo Morno. The last was the efforts from member of the Crescent School who try to achieve internal musicality of Vernacular poems by using some external forms. It established a clear form getting internal musicality by the Crescent School＇ s practice.
出处
《励耘学刊》
2015年第2期260-275,共16页
关键词
“诗歌”
新诗
歌
格律
Vernacular Poetry
Poetry
Song
Rhythm
