论林庚诗歌语言的诗化与主体化理论

On Lin Geng's Poetic Language and His Subjective Theory

从20世纪80年代至今,诗歌发展经常出现林庚所说的"新瓶"和"新酒"的不平衡状态,这与其说是"新瓶"造的不成功,莫如说是"新酒"即新诗感觉的缺乏。对这个问题的解决,是林庚经由"盛唐气象"、五四传统到当代新诗语言—格律建设的半个多世纪的努力尝试。新诗语言的诗化和主体化形赋理论是林庚在和传统诗学对话中卓有成效的发现,亦是当前诗歌发展可资借鉴的有益资源。

From the 1980s to the present, there exists imbalance between the “new bottle (form)” and “new wine (content)” as Lin Geng puts it in the development of poetry. To resolve this problem, Lin Geng, by tracing the poetic tradition of flourishing Tang Dynasty and May 4th Movement, strived to construct a new language-pattern of contemporary poetry in half a century and had fruitful discoveries: poetic language and subjectivity. They may serve as useful resources for the development of contemporary poetry.