节奏的“非韵律面相”--新诗节奏三层次理论论述之二(上)

A“Non-rhythmic Aspect”of Rhythm:Discussion No.2 on the Three-level Theory of New Poetry Rhythm(the First Part)

在以自由体为主的新诗中,既存在一种以重复、对称为基础的,较有灵活性的韵律(“非格律韵律”),也存在节奏的“非韵律面相”问题,即种种不以重复和同一性为基础的节奏控制方式。本文讨论的是节奏的“边界”,即一个节奏片段绵延的时间长度和范围。节奏边界操控的方式包括句子长度与内部的句法构造、标点、空格、分行、分节等。节奏的边界不仅形塑了一首诗基本的节奏外形,也内含了其吞气吐气的方式,还涉及意象的呈现、情感的波动起伏、诗歌悬念的展开等诗艺的诸多层面,是表现诗人的气质和个性的重要手段,也鲜明地体现出节奏的时间性本质。

In the new poetry dominated by the free style,there exist both a more flexible rhythm(“non-metrical rhythm”)based on repetition and symmetry,and a“non-rhythmic aspect”of rhythm,namely various rhythm control methods,which are not based on repetition and identity.This paper discusses the“boundary”of rhythm,that is,the length and extent of a rhythmic segment.The ways of rhythm boundary manipulation include sentence length and internal syntactic structure,punctuation,space,division of poetic lines,sub-stanzas,etc.The boundary of rhythm not only shapes the basic rhythmic form of a poem,but contains the way it breathes and exhales as well.Besides,it also involves many aspects of poetic art such as the presentation of imagery,the fluctuation of emotions,and the unfolding of poetic suspense.Therefore,it is an important means of both expressing the poet’s temperament and personality,and distinctly reflecting the temporal nature of rhythm.