从“音乐的美”到“纯诗”——论新月诗人现代诗歌美学建构的深层理论与实践

From "Musical Beauty" to "Pure Poetry"——Deep Theory and Practice of the Aesthetic Construct of the New-Moon Poets’ Modern Poetry

古典的以及现代分析美学的诗美构成要素论、"音节化"与情感"诗化"的理论以及唯美主义理论,是新月"三美"论中"音乐的美"理论的深层次核心理念,也是新月诗人现代诗歌美学建构的基本理论。新月的代表诗人闻一多、徐志摩等对现代汉语诗歌的"音乐的美"的建构所做的示范性的探索与实践,依赖于这些文学美学的基本理论。后期,新月诗人的"纯正"、"纯粹"的诗歌美学追求倾向,则从关注诗歌的外在形式美向内在主体精神的美学品格转化。《奇迹》的音乐美与散文美交织的内在矛盾正是这种美学追求的呈现。认识清楚这些,对于深入认识现代诗歌的流变进程与现代诗歌的美学建构具有极强的现实意义。

The theory of classical and modern analytic aesthetics with regard to component elements of poetic beauty, the theory of ＂syllabification＂ and ＂poeticization＂ of emotion and the theory of aestheticism was the key conception of the new-moon poet’s theory of ＂triple beauty＂ and the fundamental theory of aesthetic construction of new-moon modern poetry. Wen Yiduo and Xu Zhimo, two representatives of the new-moon poets, depended just on these fundamental theories of literary aesthetics in their model exploration and practice of creating a construction of ＂musical beauty＂ of modern Chinese poetry. Later, the new-moon poets tended to pursue ＂originality＂ and ＂purity＂ in poetic beauty, shifting their concern from beauty of external form to aesthetic character of the subjective spirit. This tendency of aesthetic pursuit was well manifested in the interweaved internal contradiction between musical beauty and narrative beauty in The Miracle. A good understanding of all this is of considerable significance to learn the course of evolution of modern and contemporary poetry and aesthetic construction of modern poetry.