诗歌与声音:一次符号学考察

Poetry and Sound:A Semiotic Observation

诗歌与声音的关系在传统与现代视野中是两种不同的景致,它牵涉到音乐、格律和声音诸要素在诗歌历史上的沉浮。文字的产生并没有将诗歌从声音的首要性里撤出,古典诗中声音比格律、文词更重要,现代诗学亦表明,以语音为中心的组织原则内在于所有的诗歌。对诗歌声音的曲解在学界相当普遍,必须区分四个层面的两种不同"声音"。从艺术符号学角度看,声音天然地被要求表意,在诗歌中寻求意义与声音的结合具有正当性。格律和声音的泛情感表意特征不属于声音语象的内涵,只有参与到特定的诗意创造活动中的声音才是语象。现代诗音律探索应遵循声音与意义的双向平行关联原则。

The relationship between poetry and sound has different scenery in the traditional and modem view. The story is told by the ups and downs of elements of music, rhythm and sound etc. in the poetry history. The naissance of writing characters does not cause poetry being removed from the primacy of sound. Sound is still more important than rhythm and written form in the tradi- tional poetry. Moreover, modem poetry shows that the sound-centered principle is intrinsic to all kinds of poetry. The distortion of sound in academics is quite common, so we must distinguish be- tween two kinds of sound at four levels. Sound in poetry is naturally asked to signify something from the perspective of artistic semiotics, and it is named sound image, which does not including rhythm and natural sound. The sound exploration of modem poetry should follow the relevance principle of sound and meaning.