Deng 2011-02-2517: 04: 50 Source: Guangming. com. Com- extensive reading.
The complete freedom of poetic style caused the fault of new poetry.
China is a great country in poetry. For thousands of years, it has produced countless great poets who shine brilliantly in history books and created thousands of well-known poems. Just the phrase "I miss my family more during the festive season" has aroused many people's homesickness. China's splendid poetry culture is admired by people all over the world, especially Japanese, Korean and Southeast Asian countries. At present, there are still two China's Tang poems in Japanese primary and secondary school textbooks, one is a night-mooring near maple bridge by Zhang Ji, and the other is The Farewell of Furong Inn and Xin Qiji by Wang Changling. In order to appreciate the charm of "midnight bell to passenger ship", someone specially traveled across the ocean to Suzhou Hanshan Temple to listen to midnight bell.
China's poetry has collapsed since the New Culture Movement. As the mainstream of poetry, new poetry has flowed into the riverbed of the west. Rhythmic ancient poetry is regarded as an ancient cultural carrier, stranded in the ancient riverbed. Slightly different from other aspects of the metabolic process, although new poetry has become the main form of expression of new culture, and its advocates have also become pioneers and masters in the literary world, people still like old-style poetry. In important political, economic and cultural life, old-style poems are often quoted. The New Culture Movement has a history of nearly a hundred years. The new poems of this period also produced many excellent works and inspiring works, but none of them can be sung by everyone (except tunes and music carriers). It is worth pondering that none of the pioneers who advocated new poetry in those days could be widely circulated. What can be widely circulated and known to women and children is their ancient poems. Everyone will recite Lu Xun's "looking at a thousand fingers coldly" and "listening to thunder". This is Hu Shi's "Blue Grass Flower", which is also well known.
History plays a joke on the masters and makes people think.
This is a very intriguing thing.
At that time, the pioneers of the new culture movement saw that the metrical pattern of ancient poetry seriously restricted the generation and expression of new ideas, and tried their best to break this bondage and seek a poetic form that could be fully and freely expressed. This is undoubtedly a major revolution to promote the development of poetry. However, some advocates of new poetry only pay attention to the ideological content, artistic conception and creative style when drawing lessons from western poetry creation, but ignore or even completely ignore another aspect of poetry, namely rhythm, and abandon all this when translating and introducing foreign poetry, thus misleading people into thinking that foreign poetry is completely free, and the more unrestrained poetry is, the better. Hu Shi repeatedly emphasized in "Talking about New Poetry-an Important Event in Eight Years" that "the movement of new poetry in China in recent years can be regarded as a great liberation of poetic style" and "not seeking form, plainness and length; You can write poems if you have questions. Do what poetry does. " Because of this advocacy, new poetry broke through all forms and showed unprecedented freedom. At first, some people were born with lyrics and songs (including Hu Shi himself), but this was regarded as the people's foot-binding dress, and the foot-binding cloth was released, so later they went further and further, regardless of the number of lines, the number of words, the meter and the height, and finally they didn't even speak rhyme. Zhou Zuoren, Liu Bannong, Shen, Yu Pingbo, Kang and Xu Zhimo, whom Hu Shi admired, came out step by step.
Especially Xu zhimo. Because he comes from Cambridge University in England and his poems are beautifully written, he has a great influence on the promotion of China's new poems. Many people regard Xu's poems as a benchmark and think that Xu's poems are the best form of new poetry, just as people used to write (Liang Qichao-style articles) as a new trend. Regrettably, Xu Zhimo, who took it as his duty to introduce English poetry and pushed China's poetry to the west, just played a misleading role. The poems he created and translated, especially the early poems, only "tend to be lyrical in different lines" and have no rhyme at all; Even so, Hu Shi advised him: "You'd better write a poem to bid farewell to Ye Yun as soon as possible!" Influenced by Wen Yiduo and others, he didn't notice the form of poetry until later period, advocated "the fluctuation of poetic syllables" in theory and practice, and put forward that "no matter how noble your thoughts are and how passionate your emotions are, you must use it to be completely" musicalized "(that is, poetic) in order to get an understanding of poetry", and created a rhyming poem like A Farewell to Cambridge, which has been praised by people so far. However, his rhythmic poems, which mainly focus on "syllable fluctuation", are only an exploration and attempt, not mature and stereotyped, and naturally they have not been universally recognized by people (including himself).
At that time, people saw a large number of new poems, which still had no length or rhythm at all, especially the foreign poems they introduced and translated. Many people think that western poetry is generally like this. As we all know, foreign poetry is also very rhythmic, not only rhymes neatly, but also has very strict meter.
The rhythm of foreign poetry is extremely strict, with rhyme and meter.
Take Russia as an example. Most of his early poems only pay attention to rhyme (that is, the end of the last syllable in every line or every other line is the same), but they are not as good as others. Later, syllable poetry appeared, that is, each line of poetry required a fixed syllable, thus limiting the length of each line of poetry. Throughout the17th century, people wrote this way. /kloc-In the first half of the 8th century, lomonosov and others thoroughly reformed the poetic style, and put forward and improved the poetic style with equal emphasis on syllables and stress. Stress plays a positive role in a foreign language, which is equivalent to a flat voice in Chinese. Arranging stressed syllables regularly, such as stressing every one or two syllables, plays a cadence role (equivalent to the orderly arrangement of flat tones in China's metrical poems), which makes such poems have a sense of rhythm and music. Pushkin carried forward this poetic style and promoted the prosperity of Russian poetry creation. Gorky praised: "No one can combine the simplicity of Pushkin's rhetoric, the clarity of words and the musicality of poetry." Gorky's musicality is the sense of rhythm and strict meter of poetry. This musical metrical poem, which was pushed to the climax by Pushkin, has been passed down to this day (of course, with the development of the times, the specific form of metrical poem has also changed). For example, the well-known Night on the outskirts of Moscow is a poetic style that pays equal attention to syllables and stress, and basically follows the principle of emphasizing case and restraining case, that is, emphasizing light, emphasizing light and emphasizing light.
The poet Isakovski's Red Berry Blossoms is even more rigorous in meter (because of its rigorous meter and strong sense of rhythm, there are many poems, such as Katyusha, Who knows him, You used to be like this, A Farewell to Migratory Birds, etc. , all the music, every line is widely circulated at home and abroad).
Unfortunately, these rules are difficult to express or even impossible to reproduce in translation. The main difference is that Chinese characters are monosyllabic, while foreign characters are almost polysyllabic. It is almost impossible to keep the artistic conception, charm and beautiful words of the original poem while translating, and to integrate it into the level and even the meter of Chinese. So Pushkin's poems, whether translated by Ge Baoquan or others, are irregular in sentence length and unorganized, and we don't know that the rhythm of Pushkin's original poems is very strict. When Qu Qiubai translated The Internationale, in order to get the rhythm of the music, he tried his best to find the proper translation of the word "International" (because the syllables of this word are too different between China and foreign countries), and finally he had to translate it directly into "Intner Sonnell".
Take the English poem admired and imitated by Xu Zhimo and others as an example, it also runs and develops in strict meter. In Cambridge's new book Selected English Poetry 1250- 1950, the poems written by English poets in the past 700 years have been rhythmic, although these rhythms have evolved with the continuous development of the times. Take/kloc-Spring and Winter written by Shakespeare in the 6th century as an example. This poem consists of two four paragraphs, each with eight lines (with a phrase in the middle) and eight syllables in each line, which are basically arranged according to the cadence melody (that is, weight and weight). Therefore, Shakespeare's poems are not only far-reaching in artistic conception and beautiful in words, but also have a strong sense of music and are forceful to read.
Take two paragraphs as an example:
When daisies wither and violets turn blue.
Ladies' blouses are all silver.
Yellow cuckoo bud
Please describe the grassland to your heart's content,
Cuckoo in every tree,
Laugh at married men; Because he sings like this:
Cuckoo!
Cuckoo. Cuckoo 0, words of fear,
Unpleasant for married people!
Its syllables are:
Heavy and heavy,
Heavy and heavy,
Heavy and heavy;
Heavy and heavy, heavy and heavy,
Heavy and heavy,
It's very heavy.
There are light and heavy!
Heavy and light, heavy and heavy
Heavy weight, heavy weight!
When the shepherd plays the flute with an oat pole,
The happy lark is the farmer's clock,
When the tortoise walks, the crow and the dawn,
The girls bleached their summer clothes,
Cuckoo in every tree,
Laugh at married men; Because he sings like this:
Cuckoo!
Cuckoo. Cuckoo 0, words of fear,
Not happy for a married car!
Its syllables are:
Heavy and heavy,
Heavy and heavy,
Heavy component, heavy component;
Heavy and heavy,
Heavy and heavy,
It's very heavy.
There are light and heavy!
Heavy and light, heavy and heavy,
Heavy weight, heavy weight!
How neat and regular the arrangement of syllables is! Take Byron and Shelley, two representative figures who pushed English poetry to the peak at the end of 18 and the beginning of 19, their poems are also very rhythmic. For example, Byron's Gone Gladiator consists of two paragraphs, each with 9 lines, each with 1 1 syllable, and the beat is basically arranged according to the light and heavy format. Shelley's Hell consists of seven paragraphs, each with seven lines, and each line retains nine and six syllables in a patchwork way. Take Keats as an example. His Song of the Nightingale consists of eight paragraphs, each with 10 lines, and each line basically keeps 10 syllables, and the light and heavy parts are in order.
Poetry must have form, and this form is rhythm.
Poetry is characterized by running in the rhythm, which is no exception for Chinese and foreign countries. This is the basic element of poetry communication. The more rigorous the rhythm of a good poem is, the longer it will last. On the other hand, even the best poetry cannot be widely circulated without rhythm. This is just as Confucius said: "Words without words are not far away." According to this truth, the fundamental reason for China's lack of endurance in reciting free poems and new poems in recent hundred years is to give up rhythm, which is the basic element of poetic style.
Poetry, as a specific literary form, is different from prose, essays and essays. It has a rhythm, which is not available in other genres. Aristotle in ancient Greece once said in Poetics: "They are called' poets' not because they can imitate, but because they adopt certain laws." This law undoubtedly refers to the rhythm. Shen Deqian, a great poet in the Qing Dynasty, said very accurately: "Poetry uses sound, and the beauty lies in ups and downs." The misunderstanding stems from the pioneers' ignorance of non-native languages and their failure to deeply study the internal laws of foreign languages.
When new poetry was just emerging and exploring its own development path, Mr. Zhang Taiyan clearly put forward that poetry must have rhyme, and resolutely opposed the view that only by getting rid of the shackles of rhythm can a good poem be written. In his letter to Cao Juren, he said: "It must be said that it rhymes, and it must be emotional, so it is uncomfortable, so it is disgusting; I don't know the woodcutter's tune, and there is no one who doesn't rhyme. It just came out of my mouth, so why bother to find yourself bound? "
The introduction of new poetry is undeniably a great progress in the development of poetry and meets the needs of the times. However, from the reflection of its hundred-year history, the pioneers who advocated new poetry at that time, under the courage and fearless spirit of breaking the shackles of metrical poetry that had ruled for thousands of years, inevitably went to the other extreme because of lack of careful thinking, that is, they were completely "eclectic and smooth", thus ignoring another aspect, that is, China's poetry (from the Book of Songs, When the pioneers who advocate free-style new poetry have just gone abroad and come into contact with foreign poetry for the first time, they are not very profound about foreign languages and are not familiar with the established internal laws in their mother tongue, such as syllable length and stress arrangement, will they mistakenly think that foreign poetry is free-style poetry without any rhyme? For most people who have never been abroad and only understand foreign poetry through translation, they think that foreign poetry is natural and unrestrained, that is, branch prose.
It should be said that although new poetry has gone through nearly a hundred years, it is still in the stage of exploring and seeking more suitable forms of expression. Every new poetic style in history, from the Book of Songs to Yuefu to metrical poems, words and songs, has been developed for hundreds of years. I think Mr. Lu Xun is right. He said: "Poetry should be formal, easy to remember, easy to understand, easy to sing and beautiful, but the format should not be too strict, and it should have rhyme, but it doesn't have to be poetic, as long as it is fluent." Lu Xun promoted the poetry revolution and the emergence of new poetry during the May 4th Movement, which is correct. Today, it is still very important to find a more suitable form of expression in the process of exploring new poetry.
In short, poetry must have a form, and this form is rhythm. As for this form, how to cast this rhythm and how to form it is still a process that needs to be explored, forged and perfected. The premise is to have a form!