用典与互文性:基于中西诗学对话的现代作诗法建构

Allusion and Intertextuality:the Construction of Modern Poetic Writing Based on the Dialogue Between Chinese and Western Poetics

“用典”和“互文性”分别是中国古典诗学和西方现代诗学的典型特征,对诗歌的读法和写法都有着极其重要的推动作用。虽然源头不同,但二者在新诗写作的维度达成了某种对话关系——它们都以“世界文学”为资源,以民族记忆、集体无意识为运用纲领,是反观诗歌内部秩序的绝佳视角。比起“用典”,“互文性”显然是更为流行的理论,但由于互文性理论的广博与含混,由此生发的批评也存在指向不明的问题,或陷入发掘文本联系的自我狂欢。20世纪80年代以来,新诗写作呈现出更为复杂的互文景观,无论是古老的用典,还是60年代以来的互文性,似乎都与如今的新诗形成了尴尬的错位。假如能从现代汉诗写作的角度而言看待二者,我们不仅可以重新恢复古老的“用典”诗学传统,同时也可以发掘“互文性”理论在诗歌写作层面的可能性,融合中西方诗学,建构一种具有当下性的现代作诗法。

“Allusions”and“intertextuality”are typical representatives of Chinese poetics and modern poetics respectively,which play an extremely important role in promoting poetry. Although their origins are different,they have created a specific conversational relationship with each other in the dimension of new poetry writing-they both take world literature as the resource,use national memory and collective unconsciousness as the principles of practice,and provide the perfect perspective to review the internal order of poetry. Compared with“allusion”,“intertextuality”is obviously a more popular theory. However,due to the breadth and ambiguity of intertextuality theory,the criticism generated from it also has flaws,including unclear directions or falling into self-revelry in exploring the connection among texts. Since the 1980s,the writing of new poetry has presented a more complex intertextuality spectacle-both the ancient allusions and the intertextuality since the 1960s seem to have formed an embarrassing misalignment with modern poetry. If we can look at both from the perspective of modern Chinese poetry writing,we can not only revive the ancient tradition of“allusion”poetics but also explore the possibility of“intertextuality”theory in poetry writing,and construct a modern poetry writing method with presentness by integrating Chinese and Western poetics.