“形式”的解放:洞见与盲视——胡适的“白话”主张和“新诗”理论

The Liberation of Form: Insight and Blindness——on Hu Shi's theory of Vernacular and New Poem

从胡适和梅光迪、任鸿隽的两次争论入手,对胡适弃文言用白话的立论依据进行了历史和理论的梳理。胡适从思考中国文学“有文无质”的弊病出发,为“白话”文学凝聚了“说法”,这是一种把文学变革落实到语言形式的革新方案,但胡适把白话的“达意”直接移用到“新诗”时,混淆了“诗法”和“文法”的区分。

We, in this article, proceed from two disputations between Hu Shi and Mei Guangdi, Ren Hongjun, and comb the basis of substituting Vernacular for Classical Chinese in a historical and theoretical perspective. We argue that by paying attention to the shortcomings of over-ornateness in literature Hu Shi underpinned the reasons of Vernacular. This is a successful and practical scenario which laid a strong emphasis on language forms in the process of literary reforms, but when Hu Shi underlined the clearness of Chinese, he confused the differences between the rules of prose and those of poem.