歌谣与新诗:一个有待问题化、历史化的学术话题

The Ballad and New Poetry:An Issued and Historicized Academic Topic

20世纪中国新诗史上,共有四次大规模的新诗取法歌谣潮流。事实上,很多没有被描述进这几次潮流的诗人,跟歌谣也有着或深或浅的缘分。按照诗人对于取法歌谣有效性的认同度由弱至强可将其分为如下三种类型:一、研究、翻译、搜集歌谣的新诗人;二、在现代自由诗的基础上探索有效运用歌谣元素的新诗人;三、将歌谣作为新诗主要体式来使用的新诗人。新诗取法歌谣的核心矛盾在于新诗的自由体式与歌谣的格式化诗法之间的冲突。20世纪新诗取法歌谣的重要教训在于,很多诗人将新诗机械地套进凝定的歌谣体式中,而非创造性地将歌谣元素融合进新诗的语言体制。新诗取法歌谣的诸次历史潮流,已经得到了清晰的学术描述,但其研究依然有待进一步问题化和历史化。

In the history of new poetry in twentieth century, there are four large--scaled trends that ballads were absorbed into new poetry. In fact, a lot of poets who had not been described in these trends had a deep or shallow fate with the folks. These poets can be categorized into the following three types in accordance with the gradual recognition degree, from weakness to strengthen, of the effectiveness of taking a model from ballad： （1） new poets researching, translating and collecting ballads; （2） new poets exploring to effectively use ballad elements in new poems on the basis of modern free verse; （3） new poets applying ballads as main modeling style in new poems. The key contradiction of modeling new poems from ballads is the conflict between the free style o{ new poems and the formalized style of the folk songs. The crucial lesson of the modeling in 1900s lies in the mechanically poetic patternization into ballad model, instead of creatively blending ballad elements into the linguistic system of new poems. Every historic trend concerning new poems＇ modeling from hallads has heen clearly academically described, while should be studied in an issued and historicized perspective.