从“沉静的凝定”到“碎片的狂欢”——试论郑敏三个时期诗歌图像与声音运用的流变

From “the Quiet Condensate” to “the Carnival of the Debris”:Variation of the Poetic Images and Sound Application in the Three Stages of Zheng Min's Poetry

郑敏诗歌写作分跨两个阶段:20世纪40年代与归来复出,后者又可细分为两个时期。虽然经历时代变迁,个体经验层面有深邃的省思与拓展,然而其写作技艺却似乎秉持其早期即已寻获的"意象化"手法,不像其同时代人、同为联大校园诗人出身的穆旦,从20世纪40年代"新的抒情"所追求的叙事性、戏剧化手法,在20世纪70年代"回归"典范的抒情诗形式。但是,深入文本,我们将会看到,郑敏的诗歌写作在形式层面也经历了内隐却重要的变化,这一变化当然是伴随着诗人主体经验与诗学探索的自觉而发生的,表现在形式层面即是,曾经"直观而完整"的诗歌图像与声音意象为"碎片化、多义性"的声色元件所取代,诗人青年时代的沉静凝定亦转变为晚期的碎片式狂欢。

Zheng Min＇s poems are divided into two stages： the 1940 s and the new period and the latter can be divided into two parts. Although experiencing the times variation and having deep thought and expansion on the level of individuals experience,she upheld the ＂imaginary＂writing skills obtained in her early stage unlike the contemporary poet Mu Dan who had the same background of the campus poet in Southwest United University,pursuing the narrative,dramatic styles in the ＂new lyric＂in 1940 s while ＂returning＂to the classic forms of lyrics in 1970 s.However researching into the works,we find that Zheng Min＇s poetry had implicit while important variations on writing styles. The variation happened with subjective experience and poetic exploration of the poet,and the poet＇s use of poetry images and sound is an excellent embodiment of this change.