现代文学启蒙的先声——以郭沫若《女神》与赛春嘎《心侣集》为例

Forerunner of Modern Literature Enlightenment——A Case Study of Guo Moruo's Goddess and Sai Chunga's Collection of Heart Companion

郭沫若的《女神》成为最能体现五四精神的诗的纪念碑。它和鲁迅的《狂人日记》一起被视为中国新文学浪漫追求的双璧而长存于中国人的记忆中。纳·赛音朝克图(1914-1973)是20世纪中国蒙古族一代大文豪,现当代蒙古文学奠基人,著名诗人。论文从自然、自由的激情演绎、崇尚女性主题、性别和恋爱观等方面探寻两位诗人在写作上的异同。郭沫若自然与人相呼应的诗歌中自然与人有平等关系,自然既是"自我","自我"即是自然。赛春嘎自然与蒙古人生活相呼应的诗歌中遵循自然规律与蒙古人生活节奏。赛春嘎诗歌为全民族人民的利益、命运而写诗;郭沫若诗歌当时追求个性解放为重。

Guo Moruo’s Goddess has become a monument to the poems that best embody the spirit of the May Fourth Movement.Together with Lu Xun’s Diary of Madman, it is regarded as the double wall of the romantic pursuit of Chinese new literature and long exists in Chinese memory.Na﹒Saiyin Chaoketu is a Mongolian great litterateur in China in the 20th century, a founder of modern and contemporary Mongolian literature, and a famous poet. The author explores the similarities between the two poets in their writings from the perspectives of passionate deduction of nature and freedom, theme of worship of women and outlook of love of men and women. In Guo Moruo’s poems, nature and man have equal relations,nature is "self" and "self" is nature.Sai Chunga’s poems in which nature works in concert with Mongolian life follow the law of nature and the rhythm of Mongolian life.Sai Chunga wrote poems for the benefit and destiny of the whole nation;Guo Moruo’s poems at that time focused on the liberation of personality.