帕斯《弓与琴》中的韵律学问题——兼及中国新诗节奏理论的建设

The Prosodic Issues of Octavio Paz's The Bow and the Lyre and the Construction of Prosodic Theory of Modern Chinese Poetry

本文讨论了墨西哥诗人帕斯在《弓与琴》中涉及到的韵律学问题,并分析其观点对于中国新诗节奏理论建设的启发。帕斯观察到节奏与时间的本质联系,认为节奏的意义在于重构一种"原型时间",让人对事物的感知具备一种形式。帕斯提醒我们,"节奏的潜流"存在于任何语言表达之中,对抗着逻辑与思想的控制。这一点可以在韵律句法学中得到进一步的认识。帕斯指出,节奏与格律并不是一回事,格律是外在的、抽象的音响量度,而节奏是包含着意义与形象的具体现实。当格律与语言的节奏相隔绝时,语言就会创造新的形式,自由诗就是一种重新恢复节奏之整体性的努力。帕斯的见解有助于我们打破当下汉语诗歌韵律学遇到的"瓶颈",让其形成新的研究"范式"。

This article discusses the prosodic problems of Octavio Paz＇s The Bow and the Lyre, which illuminates the construction of the prosody of modern Chinese poetry. Paz notices the essential connection between rhythm and time. The function of rhythm, according to Paz, is to reconstruct ＂archetypical time＂ and to give a form to the perception of events. At the heart of language, Paz claims, circulates ＂the invisible rhythmic current,＂ fighting against the control of logic and reason. This point will be strengthened and furthered in the perspective of prosodic syntax. Paz holds that rhythm and meter are not the same thing. Meter is exterior, abstract measure of senses and images, while rhythm is concrete temporality which already contains images and senses. When a meter is isolated from the rhythmic flux and reflux of language, the verse will engender new forms. Free verse, therefore, is an effort of regaining the rhythmic entity of language. Paz＇s thoughts shed much light on the study of the prosody of modern Chinese poetry, helping us break the bottleneck of the current research and create a new ＂paradigm.＂