中国新诗学观念的历史转型及其辩证关系——郑振铎“血和泪”与“爱和美”的双重书写

The Historical Transformation and Dialectical Relationships in the Concepts of Chinese New Poetics——Zheng Zhenduo’s Dual Statements of“Blood and Tears”and“Love and Beauty”

提倡“血和泪文学”口号的郑振铎大力译介泰戈尔“爱和美”为主题的抒情诗,开启了中国文学史上的“泰戈尔热”,并对中国诗学转型产生影响。然而,郑振铎“血和泪”的文学主张与其对泰戈尔“爱和美”的诗歌主题在译者行为中如何融合的问题,在学界尚未得到合理的解释。郑振铎“血和泪”的文学主张体现了在救亡图存的时代背景下新文学的人民性和革命性;郑振铎对“爱和美”诗歌的翻译给新文学带来了以世界性和理想性为特征的人类主义诗学观念。探究郑振铎“血和泪”文学书写与其对泰戈尔“爱和美”诗歌翻译书写之间的发展性关联,可以折射出20世纪初“五四”新诗学观念中革命性与理想性、人民性和人类主义之间的辩证关系,进而揭示翻译对中国新文学诗学观念转型具有历史贡献。

Zheng Zhenduo translated into Chinese many of Tagore’s poems with the theme of“Love and Beauty”,starting China’s“Craze for Tagore”.While introducing Tagore’s poetics for love and beauty,Zheng Zhenduo introduced his“Blood and Tears”Literature Claim,advocating realistic and reformative literature.Yet,the seeming contradiction between Literature Claim of“Blood and Tears”and Translation Behavior for“Love and Beauty”poems have not been illustrated reasonably so far.This paper attempts to remedy such a sitwation.It concludes,after systematical analysis,that“Blood and Tears”takes the revolutionary feature from the national perspective;while“Love and Beauty”represents the humanity poetics that effects social bonds.The interrelation between“Blood and Tears”and“Love and Beauty”is the reflection of the interaction between various social and literature thoughts at the period of the May 4^(th) Movement.The significance of this paper goes to providing a deep cultural illustration for China’s“Craze for Tagore”,and to unveiling translation’s contribution towards poetic transformation in the arena of modern Chinese literature.