史诗时代的抒情声音--江文也的音乐与诗歌(续)

The Lyrical in Epic Time:Jiang Wenye's Music & Poetry(Continued)

江文也的音乐、诗歌和乐论应当被视为20世纪三四十年代中国抒情话语的一部分。他构想现代音乐与诗歌的方式引导我们思考一个更为宽广的课题,即抒情想象与现代性的关联。一般认为,20世纪中国文学的典范不外革命与启蒙,而抒情话语要么被贬为与时代的历史意识无关,要么被看作现实主义律令以外的小道。这是一种误解。无论作为一种文类特征,一种美学观照,一种生活风格,甚至一种政治立场,抒情都应当被看作是中国文人和知识分子面对现实、建构另类现代视野的重要资源。

Jiang Wenye＇s music, poetry and musical theory should be seen as part of the 1930 - 40s＇ Chinese lyrical discourse. His conception of modem music and poetry invites us to reflect on a much broader issue. That is the relatedness between lyrical imagination and modernity. Generally, the paragon of twentieth - century Chinese literature is claimed to attach much importance to revolution and enlightenment, and lyrical discourse is weakened as a bypath, which either has nothing to do with historical consciousness of the times or does not follow realistic principles. However, it is a misunderstanding. Whether as a genre character, an aesthetic consideration, a life style or even as a political stand, lyricism should be considered as part of the important resources which Chinese scholars have adopted to develop unique modernist perspectives in confronting the reality.