凝视的虚像:戴望舒《雨巷》与卞之琳《断章》比较一则

Views of Gaze between A Lane in the Rain and Fragment

凝视的美学表明,日常经验中的凝视,其目的在于世界的明晰化;而诗化的凝视,其目的则在于世界的神秘化。中国现代象征主义诗作中,戴望舒的《雨巷》与卞之琳的《断章》展现了凝视的神秘性。其共同的构造逻辑在于,诗语一直在隐秘的寻求交互凝视,但最终却走向了交错凝视,从而迷失在重重镜像之中。但《雨巷》通过凝视,将外在空间自我化,而无意使自我封闭在无限循环的时间幻象中;而《断章》则经由凝视,将内在自我空间化,却无意使自我陷入多重局面的空间幻象中。总而言之,基于对凝视的想象性建构,《雨巷》与《断章》分别开启了由外向内和由内向外的两种完全不同的诗化路径。

The aesthetics of gaze shows that the gaze in daily life aims to see the world clearly; and the poetic gaze lies in the mystery of world. Chinese modern symbolism poetry,DAI Wang-shu’s A Lane in the Rain and BIAN Zhi-lin’s Fragment reveal the mystery of gaze. Their common structure of logic is that the poetic language has been hidden for seeking interactive gaze,but eventually to staggered gaze,thereby lost in heavy images. DAI Wang-shu describes the gaze through time changes. But BIAN Zhilin describes through space changes. Generally speaking, based on the imagination of gaze,A Lane in the Rain and Fragment reflect two completely different poetic paths——from the outside to the inside and from the inside to the outside.