冷淡的深挚 玩笑的辛酸——论卞之琳对西方象征主义诗学的接受

Passion under Indifference and Sorrow in Rejoicing——On Bian Zhilin's Acceptance of Symbolism

卞之琳作为中国现代诗坛上的重要人物,对中国新诗的发展起着承上启下的关键作用。他自觉接受西方象征主义诗学理论并将此运用于自己的诗歌创作,使之本土化,在探索新诗艺术“化欧”,“化古”的过程中所取得的成就是不应忽视的。本文将对法国象征主义的厌世,倦怠情绪,以及艾略特的“非个人化”和“戏剧化”对卞之琳的影响作以论述,从而了解和认识卞之琳对象征主义诗学的接受过程。

As an important figure in Chinese modern poetry, Bian Zhilin plays a role of forming a connection between the preceding and the following in Chinese blank verse. Passionately absorbing the poetic theories from the Western Symbolism and applying them to his creative endeavor, he introduced Symbolism to China and had it blended with Chinese poems in implication. Apart from his considerable accomplishments in exploring blank verse, he transmuted the borrowed materials, from European, American and Chinese ancient literature, into something better that characterizes Bian＇s own style. This paper will illustrate how Bian Zhilin was influenced by two important elements in French Symbolism： disgust of existence and sluggishness, and by T.S. Eliot＇s two theories： impersonality and dramatization, respectively during his acceptance of symbolism.