中西吟诵诗学的语文制度差异及对话融合——以朱光潜与海德格尔为中心的推展

The Difference of Language System and Dialogue or Fusion of Chinese and Western Recitative Poetics: An Extension Centered on Zhu Guangqian and Heidegger

吟诵诗学指以吟咏、诵读等形式感知诗文情韵的解释系统。以声解诗在中外诗史上均有悠久传统,但因语文制度不同,两种解诗观念存在很大差异。作为象形与拼音文字的代表,朱光潜和海德格尔在声解问题上的不同认识,折射了两种语言文化制度的差异。从源头看,东方之声源于抒情、西方之声源自模仿;虽均认同声与诗乐同源事实,但认知基础并不一致。中国诗学遵循情感本位论,源自气的思想,因而打上生命哲学印记;而西方诗学依循存在本位论,来自声音中心主义,故此染上形而上学色彩。尽管存在这些差别,但不乏相通之处,如对体验式阅读的提倡、对声音形象及传染效应的重视、对生命精神的强调、对听的因素的偏重等,都为两种吟诵诗学的对话融合提供了良好条件。身处古今中西交汇点的汉语新诗,由于语言文体变异等因素,声音传统能否承续面临巨大挑战。如何融合两种诗学的有益经验,建立具有民族特色的现代声解诗学,是中国新诗需要面对的重要课题。

Recitative poetics refers to the interpretation system of perceiving the sentiment of poems and texts in the form of chanting and reciting. There is a long tradition of interpreting poetry by sound in Chinese and foreign poetry history, but due to the different language system, there are great differences between the two views of interpreting poetry. As the representatives of pictographic and alphabetical languages, Zhu Guangqian and Heidegger’s different understanding on the problem of sound solution reflects the differences of the two languages and cultural systems. From the source, eastern sound originated from lyric while the western one originated from imitation;although they all agree on the fact that sound and poetry are homologous, the cognitive basis is not the same. Chinese poetics follows the emotion-centered theory and originates from the thought of Qi, and it is therefore imprinted with the philosophy of life. However, Western poetics follows the existence-centered theory and comes from the sound-centered theory, and it is consequently stained with metaphysics. Despite these differences, there is no lack of similarities, such as the advocacy of experiential reading, the emphasis on sound image and contagion effect, the emphasis on the spirit of life, and the emphasis on listening factors, which provide a good condition for the dialogic integration of the two kinds of chanting poetics. The new poetry, which is located at the intersection of ancient and modern Chinese and Western poetry, faces a great challenge to the continuity of the sound tradition due to the variation of language style and other factors. How to integrate the beneficial experience of the two poetics and establish the modern acoustic interpretation poetics with national characteristics is an important task for Chinese new poetry.