为排除结构中的汉诗作论作史——毛翰论之三(上)

Composing Criticism and History for Chinese Poems in Exclusive Structure——On Mao Han(Part Three: I)

作为诗人和诗论家的毛翰,根本就不被西方的时髦理论和创作牵着鼻子走,甚至是完全拒绝西方的现代、后现代思潮的,尤其是其诗论,无论是国内向度还是国际向度,均特别彰显了个人立场和中国身份。从他选析的《历代帝王诗》以及诸如《帝王诗、帝王气象及专制情结》、《民国首脑们的诗》以及《诗祸余生石天河》等一系列笔锋犀利、鞭辟入里、充满锐气和才学的重要文章,其从诗歌介入历史,未必就是为了颠覆权力关系。其《诗美创造学》、《歌词创作的原理与方法》特别醒目的是,因为其是诗人出身,在基础理论研究和教学中便随处可见其相当浓厚的经验色彩,是随手拈来和谈笑风生之中的精彩纷呈。

As a poet and poetry critic, Mao Han had never followed the fashionable theories and creations of the western countries. He even totally refused the modern, post-modern trends in the western countries. Especially his poetry comments, whether domestically directed or internationally directed, showed his personal standpoint and Chinese identity. From his Poems by Emperors of Past Dynasties and his articles as Emperors＇ Poetry, Imposing Manner, and Autarchy Complex, The poems of the Headmen of the Republic of China, and The Remainder of Shi Tianhe＇ s Life after the Disaster Caused by Poetry, which were insightful, sharp an intelligent. His getting in touch with history in way of poetry was unnecessary to subvert power relations. In his On Creating the Beauty of Poetry, The Principle and Methods of Song Lyrics Writing, the striking point was, because he was a poet before, his experience could be seen everywhere in his basic theoretical research and teaching, which was so wonderful that had unrestrained and humorous characteristics.