译名与诠释——重审闻一多的格律诗理论

胡适称之为"偶然之偶然"的"新诗",是近代中国社会普遍的精神运动的结果,其初始的动机与动力,远不只是关于审美的,甚至主要不是关于审美的,对此的诠释与自我诠释,同样多元而丰富,很难用任何一种"绝对的开端"予以简单描述。闻一多发表于1926年的《诗的格律》,将通常译为"形式"的英文"form"一词译为"格律",并以此作为诗之为诗的根本,这是一种有意为之的"误读"。闻一多的新诗格律理论,与他本人的写作和翻译实践有高度的一致性,看似吸收了西方文学中的格律诗理论,实际上更像是他此前研究过的中国古代律诗观念在现代的演绎。冯至践行象征主义诗学,其浪漫与象征的互照互释,彰显了"象征诗学"的浪漫之维,他将浪漫诗人诺瓦利斯称为"游戏诗人",将浪漫世界营造为"游戏式的严肃",从而看透了宇宙象征体系之中那些幽暗玄远的意义。以诗体探索与文体建构为媒介,冯至完成了"象征诗学"的建构,为中国现代文艺与文艺思想添加了别样的韵味与风采。

The New Poetry that called'fortuitous chance'by Hu Shi is a result of the spiritual movements in Modern China. The initial motivation can not just understand as aesthetics,not even mainly about the aesthetics,but rather more diverse and rich that is hardly can be described as any kind of'absolute beginning'. In his Poetry Rhyme in 1926,Wen Yiduo made an intentional misreading by translating the well- accepted word'form'as'rhythm',which was considered as the essence of poetry by him. His theory of rhythm is highly consistent with his own writing and translation practices,and it,when revealing its cover from the phantom of absorbing the rhythm theory of the western poetry,is actually more close to a modern interpretation of classical Chinese poetry that he had earlier studied. And Feng Zhi,when practicing the symbolism poetics as a mutual interpretation and mirror of romantic and symbolic items to reach a romantical level of 'symbolical poetics',understands Novalis as a 'game- like poet',creates a romantic world as 'game-like serious',and sees through the dark mysterious significance in the universe of symbol. Taking constructing the from and style of poetry as a media,Feng Zhi completes his'symbolical poetics',which is performed as a charming and unique tache to Chinese modern literature and the literary thoughts.