林庚新格律诗论的语言结构

The Language Structure of Lin Geng's View on New Metrical Poetry

林庚是将古典文学研究与新诗形式探索进行有机结合的诗论家,其所提出的"半逗律论"、"节奏音组论"、"普遍形式论"等,便是此种"沟通新旧文学"的重要收获。无疑,这些成果丰富了新诗理论,对新诗文体建设具有积极意义。然而,以乐诗为标准对待新诗节奏、以字本位为预设建设"普遍形式"、以唐诗趣味为规范处理"语言诗化"——这种以古典规范为语言结构的新格律论,不仅存在古与今、新与旧的巨大错位,而且有着逻辑与历史分裂的危险。更为重要的是,这种执着于"古典性"与"民族性"的诗学理论,天然具有固守传统和拒斥外援的倾向。因此,对这类新古典主义新诗理论要有一个清醒的、辨证的认识。

Lin Geng is a poetic theorist engaged in exploring the organic integration of classical literature studies with new poetic forms, and his ideas like those on ＂semi-trivial rhythm＂, ＂rhythm groups＂ and ＂the universal form＂, etc. , are vital achievements of the ＂ communication between ancient and modern literature＂. These achievements have surely enriched the theory of new poetry and contributed positively to developing the style of new poetry. Nevertheless, this new metrical theory, which takes the classical norm as its language structure, embraces not only some huge dislocation between the ancient and the modern as well as between the old and the new but also the risk of division between logic and history. More importantly, this poetic theory persistent in ＂classicality＂ and ＂nationality＂ is naturally inclined to observe the local tradition and repel the foreign aid. Therefore, there must be a sober and dialectical understanding of such neo-classicism new poetry theory.