摘要
斯丹凡·马拉美是法国诗坛现代主义和象征主义诗歌的领袖人物。在他初期的创作中,马拉美自觉不自觉地表现波德莱尔诗歌中的主题,而《海洛狄亚德》是马拉美形成自己创作风格的开始。《海洛狄亚德》和《牧神的午后》标志着马拉美诗歌创作的新起点,标志着象征主义诗歌马拉美时代的来临。在描述了马拉美诗歌个人风格形成的过程后,论述了马拉美诗歌美学观:马拉美把诗歌视为最高的和支配的艺术,音乐可以使诗歌取得暗示、象征的最佳效果。马拉美坚持认为诗歌中应该永远存在着难解之谜,文学的目的在于召唤事物,而不能有其他目的,而世界最终的目的就是为了写出一本完美的书。马拉美的诗歌创作实践印证了这样的主张,使自己成为追求极致的诗人,而其诗歌理论对法国现代诗歌、中国现代诗歌乃至世界现代诗歌都产生了巨大影响。
Stéphane Mallarmé, one of the leading poets of modern French modernism and symbolism, previously unconsciously followed the theme and style set by Charles Baudelaire. His Hillodiard announced the forthcoming of Mallarmé' s own writing style, and together with the later L' aprés-midi d' un faune, it symbolized a new starting point and the coming of Mallarmian Era in symbolistie poetry. Mallarmé' s aesthetic in poetry can be fully described in two wings, for the one thing, Mallarmé regarded poetry as the highest and prevailing arts, he believed that music could gain best indicative and symbolic effects ; for the other, he insisted that bewilderment should forever exist in poetry and that the goal of literature is no other than to call for something, thus the ultimate goal of this world was but to write a book of perfection. Mallarmé reassured these and practiced them with his poems. This makes him a poet of acme, who has greatly influenced modern poetry in France, China, and even world wide.
出处
《四川外语学院学报》
CSSCI
北大核心
2008年第4期1-5,共5页
Journal of Sichuan International Studies University
关键词
马拉美
极致
风格
音乐性
诗歌美学
Mallarmé
acme style
musicality
aesthetic in poetry