在“内心独白”与“自由联想”间挣脱梦魇——牛汉诗歌《梦游》第一稿与第三稿的比较研究

Trying to Break Away from Nightmares between “Interior Monologue” and “Free Association”——A Comparative Study of Niu Han's Sleepwalking

《梦游》是牛汉晚年的代表作,得到研究者较广泛的推崇,但人们对于《梦游》刊发的第一稿与第三稿,却有三种不同看法:或认为第一稿胜过第三稿;或认为第三稿比第一稿好;或认为两稿是两首独立不同的诗。牛汉在情境诗的基础上,吸收了艾略特现代诗的艺术手法,创造了一种具有个人风格的现代诗,这是两稿的共同之处。牛汉在第三稿的修改中,重新进入了艺术创造过程。两稿的戏剧化叙述者,各不相同,他们所讲述的自然是不同的梦游情境。第一稿用"内心独白"创造超现实的梦境,以隐喻和暗示见长,并将"梦游"与"梦醒"后进行比较,具有整体性的反讽结构;第三稿为了"不使苦难失重",增加了"内心独白"和"自由联想"中"清醒"理性的叙述成分,加大了"梦游"前挣脱梦魇的艰难,和"梦游"中残破生命的"痛感"。《梦游》两稿,既是一种改写的关系,又具有各自独立完整的艺术生命,构成一种独特而奇异的"互文性"。

Researchers highly appreciate Niu Han＇ s representative work Sleepwalking, but they differ in opinions about its first and third editions. The writer of this paper agrees that whilst the third edition is a revised text of the first, each has its own independent artistic life, creating a unique and singular intertexture. Both editions share his personal modern style, a style of his situational poetry mingled with Eliot＇ s modern elements. The third edition is another process of artistic creation and the dramatic narrator naturally tells a different situation of sleepwalk. The first edition, using ＂interior monologue＂, creates a surreal dream world ; it is metaphorical and the contrast of ＂sleepwalk＂ and ＂dream wake＂ makes a structure of irony. To avoid ＂the weight loss of sufferings＂ , the third edition increases the ＂sober＂ rational narration in ＂interior monologue＂ and ＂free association＂ and makes it more difficult to get away from the nightmare before ＂sleepwalking＂ and gives more ＂sense of pain＂ to the devastated life during ＂sleepwalking＂.