卞之琳北平时期诗歌的复杂色调

The Complex Tones of BIAN Zhi-lin's Poetry During His Peking Period

人们往往强调卞之琳1935年以后创作的复杂色彩,并将它们与其北平时期创作区别开来。但实际上,卞之琳诗歌的复杂色调和表达特征,都是在他北平时期的创作中开始呈现的。他对北平的感受一开始就带着复杂意味,对北平所代表的双重文化价值的"凭吊"是他寄托苦闷的方式。而在这种凭吊中,他一方面对北平市民生活的慵懒、麻木、缺乏危机感的生存状态持批判态度,另一方面又流连于北平的古韵及其市民悠然闲适的趣味中,这种情感反应的复杂性和由此产生的借物抒情的表达策略,使他的诗歌逐渐发展出一套传达感受的方式。这让他批判声音的传达显得更为委婉和隐蔽,也为他后一阶段创作那种更复杂的表达策略奠定了基础。

While People emphasize the complexity of BIAN Zhi - lin＇ s poetry, they tend to differentiate his poems written after 1935 from the ones before that time. But in fact, the complicated tones and expressive characteristics of BIAN＇ s poetry had been reflected in his poems written in Peking University. From the beginning, his feelings for Peking were with mixed implications, he paid homage to Peking that represented both traditional and modem values. On the one hand, he sneered at the survival status of laziness, numbness and lack of a sense of crisis in Peking pub- lic life; on the other, he was also attached to the nostalgic atmosphere of Peking and the leisure taste of its people. This complex emotions gradually developed a unique way to convey the feelings in his poetry. This made the com- munication of his critical voice even more tactful and concealed and also laid the foundation for the more complex expressions in later stage of his creation.