“新诗与传统”专题笔谈被引量：1

Forum: New Poetry and Tradition

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摘要王光明认为 ,传统不仅是变化的 ,丰富复杂的 ,也是有待通过创造性的实践来发现的。传统不仅是对过去的意识 ,也是对现在的意识。应当从现代性出发去汲取传统 ,不是将传统视为标准 ,而是将其视为创造过程中不断对话的资源。应以之衡量新诗。荣光启界定新诗“自己的传统” ,就是新诗在多重困境中自觉寻求新的形式秩序 ,建设汉语诗歌的现代诗形 ,认为该传统对当下的诗歌写作具有重要的参照意义。赖煌根据时下混杂相生、相互歧异的诗歌传统 ,提出应将现代汉诗的传统问题 ,放在其寄身的历史语境中进行评判。现代汉诗是在现代性过程中展开的 ,它不可能和古典汉诗在同一平面对接。伍明春在对“五四”后新诗理论中有关形式观念的分析清理中 ,考察了古代诗歌传统对新诗形式潜在的影响 ,从一个侧面描述了新诗被遮蔽的传统。殷鉴认为 ,在新诗的传统问题上存在三点误区 ,要走出误区的办法必须超越传统 ,而诗人及其创造性的艺术作品是超越传统的关键。龚奎林是从“五四”新诗的主体和创作角度看待新诗与传统的联系的 ,从而提出对传统的创造性转化问题。黄雪敏认为 ,新诗在确定现代汉语为诗家语 ,抛弃传统的格律和形式之日起 ,就开始了自身传统的探求与发展 ,并在不断地反传统的同时也不断地去“发现传统” ,将流传? Wang Guangming holds that tradition is not only variable, rich and colorful but also discoverable through innovative practice. Tradition refers to the consciousness of both the past and the present. We should inherit the tradition in the light of the modernity, regarding it not as the criterion but as the resource of constant dialogues in the process of creation. Such, then, is the criterion for judging the new poetry. The new poetry, as defined by Yong Guangqi, is “its own tradition”, i.e. the new system of forms to be sought conscientiously by the new poetry itself while going through various kind of difficulties on its way to develop the style of modern Chinese poetry. Such tradition is of important reference for the present poem writing. Modern Chinese poetry and the tradition, according to Lai Yuhuang, should be weighed in the historical context since miscellaneousness and heterogeneousness characterize the tradition of poetry. Modern Chinese poetry develops in the modernity process, and therefore cannot interface the classical Chinese poetry. Wu Mingchun first analyzes the form and concept of the new poetry since May 4th Movement, and then discusses the potential influence of the ancient poetry tradition upon the new poetry forms, thus revealing from such perspective the tradition underlying the new poetry. Concerning the tradition of the new poetry, in Yin Jian's opinion, there exist three misunderstanding areas. To walk out has to transcend the tradition. To do so, the poet and his own innovative works play a key role. From the angle of the principal part and creation of the new poetry during the May 4th Movement, Gong Kuilin views the relationship between the new poetry and tradition, and hence advances the issue of inheriting the tradition creatively. Ever since modern Chinese was chosen as the language of the new poetry while some of the traditional forms and rhyming were discarded, as Huang Xueming assumes, the new poetry started on its journey to inherit the tradition and develop itself and, paradoxically, to “discover the tradition” constantly while fighting it continuously, and consequently keep and integrate what has come down - the vital elements - in the new poetry. Liu Jindong emphasizes the link between the new poetry and the tradition (of both the classical Chinese poetry and the Western poetry), indicating that the new poetry as such was the product of the tradition, its development constituting its own tradition, namely, its form and essence are the tradition of the Chinese new poetry.