论郭沫若与惠特曼诗歌的精神关系——兼与史记先生商榷

On the Spiritual Relationship Between Guo Moruo's and Whitman's Poetry——Concurrently Discussing with Mr. Shi Ji

史记先生等文学评论家普遍认为以《女神》为代表的郭沫若的诗歌是在惠特曼诗歌精神的影响下创作而成,因此郭沫若被称为"中国的惠特曼"。但是,若仔细审视郭沫若的作品,发现他只是侧重于鉴赏和吸收到惠特曼平民观、城市观、灵肉一致的爱情观的表面特征,惠特曼诗歌平民观背后的泛神论、城市观背后的仁爱论、"灵肉一致"的爱情观背后的对国民的深层价值秩序结构改正的意义没有被郭沫若深入地体悟。郭沫若偏重于在本土语境的视阈下把惠特曼的诗歌精神和中国的现实相结合,以及借鉴惠特曼的诗风来扩展了诗歌话语资源,开拓了诗学视野,丰富了文学想象的审美环境和诗情空间,而不是侧重理解其形而上的哲学特征,这方面则被史记先生和其他学者所忽视。

Mr. Shi Ji and other literary critics generally believe that Guo Moruo's poems represented by'Goddess'are created under the influence of Whitman's poetic spirit, and therefore Guo Moruo is called as'Chinese Whitman. 'However, if we carefully examine Guo Moruo's work,we can find out that he is only focused on the appreciation and absorption of Whitman's superficial characteristics of the viewpoints of civilians, and the city, and the unification of flesh and soul,without further realizing Whitman's pantheism,benevolence and significance of the correction of the structure of the deep-value order behind the characteristics,which Guo Moruo tries to further understand by the combination of Whitman's poetic spirit and Chinese reality from the perspective of local context instead of focusing on the understanding of the metaphysical feature. Guo Moruo only makes use of Whitman's poetic style for reference to expand his poetic discourse resources,broaden his poetic vision,enrich his aesthetic environment of literary imagination and poetic space. Guo Moruo `s understanding of deeper essence of Whitman's poetry leaving much to be desired and his subsequent deviation from understanding are neglected by Mr. Shi Ji and many other scholars.