New metrical poem+Xu Zhimo

An analysis of the basic metrical thought of new metrical poems: the spring tide of the May 4th Cultural Movement impacted and cleaned all the old literary forms; The vernacular Chinese has replaced the classical Chinese, and the eclectic vernacular free poems have replaced the old-style poems. Under the new language foundation and its metrical conditions, the contradiction in the construction of new metrical poems is mainly reflected in the core problem of "neat sentences and neat words" Zou Jiang scientifically summarized three situations in "Preface to Selected Modern Metric Poems in China": First, "the number of sentences is neat and the number of words is neat"; Second, "the number of meals is neat and the number of words is irregular"; Third, "only the number of words is neat, but the number of meals is not neat", "the so-called' dried bean curd poem' refers to this kind of work". In fact, these three phenomena contain three basic metrical ideas. First, some poets, represented by the Crescent School, first raised the banner of modern metrical poetry. Zhu Ziqing said in the introduction of China New Literature Series Poems: "On April 1st of the 10th Five-Year Plan (Gregorian calendar 1926), Poems of Beijing Morning Post was born. This is sponsored by Wen Yiduo, Xu Zhimo, Zhu Xiang, Rao Mengkan, Liu and Yu Gengyu. They want to' create a new style' and discover' new forms and new syllables'. Wen Yiduo's theory is the most distinctive. He advocates "symmetry of knots", "unity of sentences" and "scale of sound", emphasizing and rhyming. He said that poetry should have the beauty of music, painting and architecture ... they really study and experiment. There are poetry meetings, discussions or readings every week. Liang Shiqiu's family said:' This is the first time that a group of people get together and do a sincere experiment in writing new poems.' Although it was only the eleventh day, it left a great influence-at that time, everyone made metrical poems; Some people who used to pay great attention to form also came up with rules. The names' Fang Shi' and' Dried Bean Curd' show the ethos of this period. To sum up the poems at that time, most of them were "dried bean curd poems" with neat lines and chaotic pace. The reason is that the authors at that time did not establish the awareness of starting tone, but simply inherited the face of the traditional theory of limiting words, taking words as the starting point and words as the basic unit of poetry, and implementing simple spelling of limiting words. The result is that the number of words in each line is neat, but the number of steps in each line is chaotic, and the rhythm of poetry naturally cannot be harmonious. This kind of metrical thought was quite common at that time. Even Wen Yiduo's Collection of Dead Water also included the works such as Silent Night listed in Table 3. This kind of metrical thought may be called simple word-limiting theory. The reason for this phenomenon is the brand of the times. Zou Jiang said that it was an "inevitable thing" for this kind of bad style at that time. At the same time, the Crescent Poetry School has also created a number of successful metrical new poems (see table 1 and table 2). There is nothing wrong with their pursuit of neat lines, and their pioneering work in creating new metrical poems is undeniable. In 1950s, He Qifang saw the difference between modern Chinese and ancient Chinese, and thought that "there are many light words such as' de',' li' and' zi' in our language, so it is not good to take them as the rhythm unit", and "a meal can be changed from one word to three or four words" (referring to the sound step). The essence of this proposition is to move against the way of "tofu-dried poetry", from the extreme of simple restriction of negative words to the extreme of neat "pause" numbers, and it has become a simple pause theory. Table 3 Listening to Songs is a four-step poem written according to Litton's metrical thought. Due to the neglect of the positive role of the organic cooperation of different long and short steps in the formation of organizational rhythm, the difference of words between lines destroys the harmony and distinctiveness of poetry rhythm, so that the long and short steps are not restricted and standardized, resulting in uneven lines (the maximum difference of lines is as high as four syllables), which destroys the harmony of rhythm. He Qifang himself once said, "It seems that reading is uneven and the rhythm is not clear." However, he thought that "when writing poems in spoken language, it is difficult to give attention to the neatness of words at the same time", and then he finally began to wonder "besides these two methods, are there any other ways to form rhythm?" "It should be noted that under modern conditions, it is a great contribution and qualitative leap to transfer the basic unit of organizing lines and forming rhythm from" word "to" sound "under the conditions of ancient Chinese. He Qifang has made great contributions to grasping the principal contradiction and leading the construction of new poetry to the right path. Unfortunately, he didn't fully understand, inherit and carry forward Wen Yiduo's theory of "sound level" and didn't find the way and channel to synchronize the number of steps with the number of words. As a result, he became a one-sided and simple theory of limiting steps (numbers). Third, "the number of meals is neat and the number of words is neat." After seeing the disadvantages of the simple word-limiting theory, Wen Yiduo not only successfully created stagnant water, but also published a famous paper, Metric Poetry, and finally began to attack the simple word-limiting theory with theoretical guidance. In the meter of poetry, it is clearly pointed out that "children are surprised by their faces" and "he is also surprised by the red light of charcoal fire": "Here, each line can be divided into four scales, and each line has two" three-character scales "(hereinafter referred to as three-character scales, the same below) and two" two ",so the syllables must be sonorous and the number of words must be neat. Therefore, neat words are an inevitable phenomenon of syllable harmony. Absolute homophonic syllables, words must be neat. (On the other hand, if the number of words is neat, the syllables may not be harmonious, because only the number of words is neat and the tone ruler is not neat ... ""If the reader still thinks that the previous examples are not enough, he can analyze my stagnant water in the same way. " "Each line consists of three two-character rulers and one three-character ruler, so the number of words in each line is the same. As a result, I think this poem is my first most satisfactory syllable experiment. " The first two lines of the poem are naturally four-step cross lines, while each line of stagnant water is a four-step nine-character line composed of three two-tone steps and 1 motorized three-tone steps. Here, it is not difficult to see the following three points: First, it is recognized that the basic unit of organizing poetic lines should not be "word", but should be ruler adjustment, and the concept of tone level is initially established, and two commonly used basic tone levels are named; Secondly, the two poetic styles are preliminarily summarized. Although the name of the poetic style is not summarized, the composition of the main line is analyzed. Third, we can fully master and use the ruler, that is, we should not only limit the number of rulers in poetry, but also limit the types of rulers. This has successfully found a way and channel to solve the contradiction between the number of words and the number of steps in a poem. Wen Yiduo asserted excitedly: "I hope readers will pay attention to the syllables of new poems. From the previous analysis, there is indeed a specific way to find them." After discovering this syllable pattern, I assert that new poetry will soon enter a new construction period. "After repeated research and comparison of the practices and theories of Crescent Poetry School, He Qifang, Wen Yiduo and others, combined with the traditional theory of word restriction and the aesthetic principle that most foreign metrical poems pay attention to the orderly number of syllables, we finally realize that the aesthetic standard and metrical conditions of" emphasizing the orderly number of words or rules "in modern Chinese should not be shaken, nor should the principles of organizing lines and forming rhythm. For China's poems, which don't have the coordination of long and short sounds like Greek poems and light and heavy sounds like English poems, the organic coordination of four steps can't be underestimated, which is a favorable way and means to strengthen and activate the sense of rhythm, musicality and melodic beauty of poems. Wen Yiduo's tone level theory is indeed a valuable legacy, which has laid a solid foundation for the emergence of modern full tone limit theory. Unfortunately, it took us too long to understand that the detour was too big. Until1July, 987, the third issue of Journal of Huaiyin Teachers College published my book "On the Gains and Losses of Wen Yiduo's Experimental New Metrics from Poetry Metrics", and put forward the complete step limit theory for the first time: "The so-called complete step limit theory refers to the organic cooperation of several steps while limiting the number of steps, thus forming the unity of steps and words, and the harmony of syllables and sentences. "The position of the whole tone step theory in the new metrical poetry is the same as that in the old metrical poetry, and it is the core and backbone that dominates all basic metrical factors." Practice has proved that the whole-tone step theory is the core and soul of commanding and controlling all kinds of basic metrical elements, and it is the link that forms all kinds of metrical forms. This kind of metrical thought can not only correct the shortcomings of "neat and chaotic words", but also overcome the shortcomings of "neat and chaotic words". It can not only solve the problem that new poetry is divorced from old poetry, but also promote the standardization, nationalization and modernization of new poetry. With the development and maturity of new poetry, the function and significance of the whole-tone step theory will surely win people's universal recognition and affirmation. "Compared with the essence of the traditional theory of word restriction (the original mechanical theory of complete step restriction), this basic metrical thought is indeed far from the same strain. It can be said that the modern theory of complete pace restriction has bridged the long-term disconnection between ancient and modern poetry forms. This metrical thought is manifested in the creation, and the 357 poems listed in Table 1 and Table 2 are the most powerful evidence. It can be said: "The whole-tone step theory is a brand-new metrical theory, because it sublates the phenomenon, dross and shell of classical metrical theory, and inherits and develops the essence of classical metrical theory in analysis and criticism; "It didn't transplant or introduce the metrical form of foreign poetry completely, but through concrete analysis and comparison, it selectively borrowed something that was beneficial to me, and then it was transformed into our metrical form. Therefore, there are both traditional things and foreign things in the complete step theory, which is not something that has existed since ancient times. This is our own thing in China's new poems. But in form, it can be said that only the complete step theory can vertically connect China's 3,000-year-old poems into a whole, carry forward the metrical tradition of the Chinese nation, create a new generation of poems and move towards the future; Only with the theory of complete step, can we connect the foreign meter with China meter horizontally, and make China's new poetry go to the world, which is worthy of being among the world's poems. "