新旧文学的交锋——关于《蕙的风》的错位论争

The Confrontation between the New-vernacular Literature and the Old Literature——the Argument on the Mal-position of Hui De Feng

中国新诗史上关于汪静之的诗集《蕙的风》的论争是一场偏离旨归的新旧文学的交锋。最初新文学阵营内部对《蕙的风》的诗体、内容、感情基调等方面褒贬不一,随后由新文学倡导者鲁迅、周作人等共同针对所谓的"学衡派"嫡系弟子胡梦华展开论辩,论争内容由白话诗歌审美标准延伸到新旧文学观念、文化取向和道德标准。论争过程中出现了因人废言的状况,胡梦华所提到的诗集缺点早在胡适、朱自清等人的序言中已有提及,但由于胡梦华的学术背景,导致论争偏离了文学,演变成新旧文化之争,展现了20世纪20年代新旧文学争斗白热化态势,也展示了新文学运动初期偏狭敏感的文学倾向。

In the history of Chinese modem poems, the argument on the collection of poems Hui De Feng by WANG Jing-zhi was a deflected confrontation between the new-vernacular literature and the old literature. At first, the positive and negative opinions on the style, content and mood of Hui De Feng in the new-vernacu- lar literature camp were not consistent. Then the arguments presented by LU Xun and ZHOU Zuo-ren-both were advocates of the new-vernacular literature-against HU Meng-hua, a direct disciple of the so called ＂Xueheng school＂, extended from the topic about aesthetic criterion of modem poem to the new and old literary concept, cultural orientation and moral standards. Sometimes, in the course of the debate, what someone said would be denied because of his unfavorable background. Although HU Meng-hua＇s idea about the disadvantage of the collection of poems had already been mentioned early in the preludes written by HU Shi and ZHU Zi-qing, etc. , the debat wandered away off literature and turned into a battle between the new-vernacular literature and the old literature because of HU Meng-hua＇s academic background. This phenomenon reflected the incandesced state of the combat between the new-vernacular literature and the old literature in the 1920s and revealed the over-narrowed and over-sensitive literary trend in the early stage of the new literature movement.