纯诗视阈下新世纪底层诗歌的勃兴——兼论主流诗坛的接受困境

The Rise of Underclass Poetry in the Perspective of Pure Poetry——And on the Problematic Reception of Mainstream Poetry

一边是深受诗歌写作训练的知识分子写作吃力不讨好,让人质疑缺乏读者的写作是否真有意义和价值;另一边却是一批仍在为生计奔波的底层诗人受到了普通读者的热捧,他们一再动摇了长期掌握着诗歌话语权的知识分子诗歌写作的地位。新诗忽视了创作中追求与接受者共鸣的效果,从而使其陷入了接受困境。缺乏故事背景的理性抒情诗在新世纪难出新意。梁宗岱的纯诗概念非常强调诗歌通过音乐和色彩,唤起读者的感官和想象,然后达到神游的状态。他把诗歌对读者的这种影响直接看做是诗歌创作概念中不可分离的组成部分。总的来说,底层劳动者余秀华、郭金牛、许立志们流行起来的诗作确实非常符合梁宗岱纯诗主张中对接受者影响的标准。难怪,他们的诗歌在新诗普遍受挫的当下还能大行其道。在工业时代,打工的郭金牛、留守的余秀华们写出了震动受众的名篇,知识分子诗歌因脱离群众火热的生活被淡忘,反而正是文艺创作规律的体现。

While intellectuals trained in poetic writing are not well received, and their significance and value are questioned, some underclass poets still struggling for a living win immense popularity and destabilize the position of those intellectual poets. Ignoring the readers' resonance, new poetry fails in its reception. Liang Zongdai's concept of pure poetry appeals to readers' senses and imagination through sound and colors, and he highlights this poetic effect on the readers as indispensable. Generally the works of Xu Xiuhua, Guo Jinniu and Xu Lizhi confirm to Liang Zongdai's concept of pure poetry in terms of the poetic effect, which explains their popularity at a time when new poetry is not favored. The popularity of underclass poetry and the obscurity of elite poets precisely reflect the law of literary and artistic creation.