论文部分内容阅读
陆志韦因最早自觉地进行新诗节奏试验而在新诗史上占有重要地位。他在表征现代民族国家想象的白话做诗原则下,自《渡河》中南腔北调的精神奋斗失败后,摹仿无韵诗以北京话的轻重音作为新诗节奏的基石,为新诗格律探索在自由诗派的自然语调、新月诗派的整齐划一和后起的音组说之外提供了一条新的道路。陆志韦虽然意识到轻重的局限而回撤到中国传统的用韵,但其《杂样的五拍诗》不仅是具有诗歌形式的试验品,更因为其中凸现的“经验隔断”使它成为我们考察转折时代诗人政治与审美错位的一个典型文本。
Lu Zhiwei occupies an important position in the history of new poetry for earliest self-conscious new poetry rhythm test. Under the principle of poetic performance in the vernacular as imagined by the modern nation states, after the unsuccessful spiritual struggle of “crossing the river” in the north and south of the Central South, imitating the non-rhyme poems, using the light and heavy syllables of Beijing dialect as the cornerstone of the rhythm of new poetry, The tone of the Crescent Moon School, the neatness of the Crescent Moon School, and the later tone group, provide a new path. Lu Zhiwei, although aware of the limitation of severity, retreated to the rhyme of traditional Chinese rhyme. However, his “five-poem poem” is not only a test article with a poetic form, but also because of “experiencing” We examine a typical text of the poet’s politics and aesthetic dislocation in the transitional era.