郭沫若新诗的诗体探求

A Probe into the Poetic Style of Guo Moruo’s New Poems

郭沫若的新诗创作经历了从杂凑白话自由体渐变为国语白话准格律体的过程。他的杂凑白话自由体新诗体现了遵语法反修辞规范和反语法遵修辞规范的互动,既能表达直觉而得的灵幻感受,又能传达从灵幻感受中提纯出来的智性领悟。显示出对传统诗歌表现的超越,形成了为郭沫若所独有的具有现代诗艺传达色彩的审美格局。《女神》后,采用口语化白话创作新诗,又逐渐转向于采用国语白话写新诗的探索,为他的新诗带来了庄严、明朗、豪迈、深沉的审美气象。后由于郭沫若抒情身份的转变——由政治人生抒情转向了政治社会抒情,其诗严格遵守语法修辞规范,逐步生成了国语白话准格律体的僵化形体模式。他在诗体探求上形成了开端就是顶点的格局。

Guo Moruo's creation of new poems underwent a gradual change from the free style of colloquial vernacular to the quasi-metrical style of Mandarin vernacular.His free verse in colloquial vernacular reflects the interaction between the practice of complying with grammar and violating rhetoric norms and that of violating grammar and complying with rhetoric norms.It can not only express the inspirational feelings derived from intuition,but also convey the intellectual insights purified from the inspirational feelings.It shows the transcendence of traditional poetry and forms an aesthetic pattern unique to Guo Moruo,which has the color of modern poetry.Later,he turned to the exploration of writing new poems in Mandarin vernacular,which brought a solemn,heroic and profound aesthetic flavor to his new poems.As Guo Moruo's lyric identity changed from political life to political and social lyricism,his poems strictly abided by the grammatical and rhetorical norms,and gradually formed a rigid body model of quasi-metrical style of Mandarin vernacular.In exploring poetical styles,he formed a pattern of beginning as the apex.