从“散文的美”到“文字的画”——论艾青的诗美建构及其探索实践

From "Beauty of Prose" to "Pictorialization of Ideographs"——Ai Qing's Construct of Poetic Aesthetics and his Exploratory Practice

与新月诗人一样,艾青对于现代新诗的诗美建构贡献巨大。他以"诗的散文美"建设为契机,为新诗带来亲切、自然、生动、新鲜的口语美的个性化语言;也带来错落有致、交互变化样态的具有真正的非格律化倾向与"自由化"倾向的自由诗旨趣的"诗的散文美"。他的绘画经历及其艺术家主体修养,使他给新诗带来色彩的美、意象的美、意境的美,把古典诗歌的"诗中有画,画中有诗"的创造机趣赋予了新诗,从而使他的新诗达至"文字的画"的境界。在这些诗美探索的基点与高点上,艾青创作出了如《大堰河,我的保姆》《北方》和《我爱这土地》等具有了"精工"品格的自由体诗,把胡适、郭沫若以来的自由体推向了成熟,达到了至今难以企及的高峰。

Like New Moon poets,Ai Qing made enormous contributions to the aesthetic construct of modern new poetry.On the basis of construction of ＂poetic beauty of prose＂,he developed his individual kind,natural,vivid and fresh colloquial language and well-arranged and mutually-variable ＂poetic beauty of prose＂ of free verse with real non-metrical tendency and liberalizing tendency.Moreover,his experience of painting and other accomplishments as an artist brought to his new poems beauty of colours,images and mood,upgrading them to the realm of ＂ideographical pictures＂.With his basic and bold exploration of poetic beauty,Ai Qing wrote a series of ＂elaborate and best＂ poems of free verse style,such as Dayan River,My Mummy,The North,and This Land I Love,which advanced the style of free verse pioneered by Hu Shi and Guo Moruo to maturity,unattainable up till now.