论希梅内斯诗学的相对边缘性

Relative Marginality of Juan Ramón Jiménez's Poetics

希梅内斯是西班牙第一位荣获诺贝尔奖的诗人。通过将他置于欧洲现代抒情诗结构这一共时性的语义场中,整体性、历时性地把握其诗学,可见希梅内斯的诗学理念、读者观和创作观在一定程度上与弗里德里希诗论里的“现代性”潮流相异甚至逆行,呈现出相对边缘性的特点。希梅内斯诗学的边缘性体现在他传承西班牙诗歌传统的内在脉络,以恢复人们的自我主体性为旨趣,批判现代谣曲的艺术工具性;把读诗的权利赋予“广大的少数人”,构建在诗歌接受层面的民主意义;在诗歌创作中,他彰显个性化和人性化,用心灵和自然对抗理性化的僭越,成就了音韵与语义的和谐平衡。弗里德里希的经典诗论构成了对希梅内斯的一种误读,后者的诗学的相对边缘性反而获得普遍的美学力量。

Juan Ramón Jiménez is the first Spanish poet winning Nobel Prize.By positioning Jiménez in a synchronous semantic field of modern European lyric poetry structure and analyzing his poetics holistically and diachronically,the paper finds that his poetics idea,attitude towards readership and creation view are to some extent different and even retroactive,featuring relative marginality,in the trend of"modernity"in Hugo Friedrich's poetics.The marginality of Jiménez's poetics is shown through his inheritance of the internal line of Spanish poetry tradition,his aim of restoring people's self-subjectivity and his criticism of the artistic instrumentality of modern romance.He entitled the"vast minority"to read poetry,thus achieving democracy in a dimension of poetry acceptance.In poetry creation,he emphasized personalization and humanization,used soul and nature to resist the usurpation of rationalization and achieved a balance between sound and meaning.Therefore,Friedrich's classic poetic criticism constitutes a misreading of Jiménez,whose relatively marginal poetics has acquired a universal aesthetic power.